PhotoLexicon, Volume 28, nr. 43 (February 2011) (en)

Hans Aarsman

Hripsimé Visser

Abstract

Hans Aarsman is a photographer, writer, teacher, editor, and organiser of exhibitions. Over the last thirty years, he has built a reputation based on distinctive projects in which his own status as a photographer and the field of photography itself are central. As well in his role as an mentor at the RABK (Rijksakademie van Beeldende Kunsten, ‘National Academy of Fine Arts’) in Amsterdam, as an editor of books and magazines, and as someone who organises exhibitions, Aarsman has always managed to raise provocative and occasionally subversive questions concerning the medium of photography.

Biography


1951	Hendrikus Gerardus Johannes (Hans) Aarsman is born on 27 December at Hoofdweg 51 in Amsterdam as the third of four children. His mother is Margaretha (Gré) ter Braak; Hans’ father, Henk Aarsman, is a butcher by profession. Hans lives with his parents until 1970 and thereafter at various addresses in Amsterdam.
1970	Upon receiving his ‘Gymnasium β’ diploma (a prep or grammar school level diploma) at the Ignatius College in Amsterdam, Aarsman enrols in ‘Mathematics and Physics’ at the University of Amsterdam.
1973-‘76	Aarsman is dissatisfied with his chosen field of study. After passing a bachelor’s-level degree, he switches to studying the Dutch language. Within three years, he obtains a bachelor’s level degree in this field as well and subsequently continues on to the doctoral-level programme.
1976-‘79	Aarsman works as a substitute teacher at the Don Bosco College, an LBO (Lager Beroeps Onderwijs, ‘Lower Vocational Education’ secondary school) in Amsterdam. He teaches classes in Dutch, Biology, and other areas. Inspired by contact with a photographer in the cafe where he works nights, Aarsman purchases a camera (a Nikkormat) in 1978. Aarsman shoots his first successful journalistic photo one year later during an election campaign stop of Dries van Agt—the number-one candidate of the Dutch political party CDA—in the Bijlmer neighbourhood of Amsterdam, where Aarsman resides from 1976 to 1979 in the housing block ‘Develstein’. Aarsman takes a class in ‘Visual Communication’ at the RABK (Rijksakademie van Beeldende Kunsten, ‘National Academy of Fine Arts’) in Amsterdam, as an elective for his study at the University of Amsterdam. Aarsman begins to photograph on a serious basis, in part through the encouragement of his friend and fellow student Harry Meijer.
1980	Aarsman finds the RABK to be overly competitive and excessively artistic. His desire is to make photo reportages. At this time succeeds in getting his work—by now using a Leica M—published in the Dutch weekly magazine Nieuw Revue, at the time an interesting medium for journalistic photographers. The first issue of the magazine Plaatwerk appears as part of a final exam project at the RABK. The project is a collaboration of Aarsman, Meijer, and another fellow student, Peter Schaap.
1981-‘82	Aarsman is dissatisfied with the Nieuwe Revu‘s journalistic manipulation and image selection concerning a reportage on the consequences of an earthquake in Italy. He decides to offer his work to the weekly magazine De Groene Amsterdammer (‘The Green Amsterdammer’). For a period of time, Aarsman works for both magazines. In 1982, he leaves the Nieuwe Revu for good.
	In the same year, Aarsman becomes a member of the GKf (Gebonden Kunsten Federatie, vakgroep fotografie, ‘United Arts Federation, Department of Photography’), where he meets and befriends the photographers Wout Berger, Theo Baart, and others.
1982	In 1982, Aarsman is chosen together with Harry Meijer and Oscar van Alphen to carry out the annual documentary assignment of the Rijksmuseum’s Department of Dutch History. The theme for this year is Kerk in verandering (‘Church in Transformation’). Starting in 1982, photos by Aarsman appear regularly in the newspaper De Volkskrant.
1982-‘89	From 1982 (number 119/120) to the winter issue of 1984/85 (number 139), Aarsman works as a contributor to the Dutch film magazine Skrien, writing about photography. He furnishes photos for the newspaper Trouw on a freelance basis.
1983-‘84	Aarsman works as an instructor (mentor) in the photography department at the Rietveld Academy in Amsterdam.
1984	Aarsman becomes fascinated with the book Public Relations by the American photographer Gary Winogrand and experiences a breakthrough in his working approach, brought about by the vision espoused in this book. This first becomes evident in a documentary assignment carried out on behalf of the AFK (Stichting Amsterdams Fonds voor de Kunst, ‘Amsterdam Fund for the Arts’), entitled Openbare rituelen (‘Public Rituals’).
1986	Aarsman stops with Plaatwerk, which remains far too embedded in traditional notions of reportage photography for his taste. Aarsman also withdraws as a member of the GKf. Aarsman continues to do work for De Groene Amsterdammer, as well as the newspapers Trouw and De Volkskrant.
1986-‘87	In the series Holland Festival—an assignment carried out in collaboration with the photographers Jannes Linders and Marrie Bot—Aarsman perfects the method he developed earlier for Openbare rituelen, but subsequently distances himself from what he sees as a ‘mannerism’. Aarsman’s desire for transparency and distance leads him to experiment with a technical camera. He stops with his freelance work for De Volkskrant.
1988-‘89	Aarsman follows in the footsteps of the American photographer Stephen Shore and travels with a camper for a year across the Netherlands for the newspaper Trouw. Under the title Hier op aarde (‘Here on Earth’), a panoramic photo appears in the newspaper each week, shot from the roof of his camper with a large-format camera and tripod. Each image is accompanied by a journal entry on dealing with the photographic process. This signals the start of his career as a writer and the end of his work as a freelance photographer working for Trouw.
1989-‘90	Aarsman’s series is compiled in the book Hollandse taferelen (‘Dutch Scenes’, 1989) and exhibited at the Stedelijk Museum Amsterdam. Aarsman’s break with reportage photography is definitive. He encounters a new platform in the gallery and museum world, but soon feels uneasy about what he describes as the ‘verkunsting’ (‘artification’) of photography.
1990-’93	Other series in the spirit of Hollandse taferelen follow, such as Stadslandschappen in Oost-Duitsland (‘Urban Landscapes in East Germany’), an assignment from the Technical University of Eindhoven in 1990, and De Alexanderpolder, waar de stad verder gaat (‘The Alexander Polder, Where the City Continues’), produced on assignment for the Rotterdamse Kunststichting (‘Rotterdam Art Foundation’) in 1993.
	In 1991, Aarsman compiles the book Stadsgezichten 1860- 1975. Amsterdam in de verbeelding (‘Cityscapes 1860-1975. Amsterdam in Pictures’), together with the photographer Hans van der Meer. For this work, the two men draw upon photos produced on assignment for various government agencies.
1993-’94	Together with the photographer Johan Vigeveno, Aarsman organises the ‘fotoquiz’ (‘photo quiz’), as part of the monthly ‘photo café’ gathering at the Centrum voor Fotografie De Moor (‘De Moor Centre for Photography’) in Amsterdam.
	Aarsman publishes Aarsman’s Amsterdam (1993), revealing the influence of objective, no-nonsense commissioned photography. For this work, he receives the Maria Austria Prize. The complete series is exhibited at the Stedelijk Museum Amsterdam and elsewhere. Hereafter, Aarsman stops with his work as a professional photographer. The only other photos he takes are unpretentious snapshots of subjects found in his immediate surroundings, shot with increasingly easy-to-use 35 mm cameras.
1995	Aarsman devotes an increasing amount of his time to writing, with his thoughts about photography making up an important part. Aarsman publishes the novel Twee hoofden, een kussen (Two Heads, One Cushion’). At the same time, he writes Het engeltje dat op mijn tong pieste (‘The Little Angel That Pissed on my Tongue’), on assignment for Buteressence BV, a flavourings manufacturer in Zaandam.
1996–Present	Aarsman is hired as a mentor at the RABK in Amsterdam, a position he holds to the present day. Aarsman realises his first theatrical monologue for the actor Dirk Roofthooft, entitled De wijze van zaal 7 (‘The Way of Room 7’, 1996). Aarsman writes columns for the Monday sports section of the NRC Handelsblad. In 1997, these writings are gathered in the booklet Zapman.
2000	Aarsman starts up the photography magazine Useful Photography, together with Claudy de Cleen, Erik Kessels, Hans van der Meer, and Julian Germain. This magazine—’void of pretension’—appears on an intermittent basis, with each issue centring around a theme related to user’s photography. His own snapshots are shown at various exhibitions, including For Real, the ‘Proposal for Municipal Art Acquisitions’ at the Stedelijk Museum Amsterdam.
2001	Aarsman’s second theatrical text, entitled Ruis (‘Noise’), is performed by Josse de Pauw.
2003–Present	At Fotogram (Amsterdam), Aarsman gives the master class ‘Stoppen met fotograferen’ (‘Stopping with Photography’).
	Aarsman publishes Vrrroom! Vrrroom! (2003), an autobiography in the double sense of the word, as well as the essence of his love for the automobile, in visual selection and text.
	In September 2003, Aarsman is approached to write columns for Photoq, an informational Dutch website on photography. The column initially appears under the heading of Kut of Kloten, followed by Bakens starting in December 2004, and as Koekerd starting in September 2005. From 19 December 2010 on, Aarsman’s columns are published in English on the website http://www.fieldeye.org.
	Aarsman shoots photos on assignment for the STAM, a municipal museum as yet to be built in Ghent, Belgium. He also publishes Onzichtbaar Gent (‘Invisible Ghent’, 2004), in which mundane locations in the city are presented in the form of photos and diagrams, along with fact-based data.
2004–Present	Stemming from his column on Photoq, the Dutch newspaper de Volkskrant asks Aarsman to write about news photography. Appearing for the first time on 6 May 2004, ‘De Aarsman collectie’ (‘The Aarsman Collection’) is a weekly column providing a factual analysis of journalistic photography. At this time, two collections of Aarsman’s best columns have as well been compiled and published in book form: De Aarsman collectie in 2005 and Ik zie ik zie (‘I See, I See’) in 2009.
2006	The acquisition of the entire series Hollandse taferelen by the Nederlands Fotomuseum (‘Netherlands Photo Museum’) in Rotterdam is published on the Internet in high resolution and downloadable for free. This sparks an inevitable commotion in the Dutch world of professional photography.
2007	From April to September, Aarsman works as a visual editor for the free daily newspaper Dag. Together with the photographers Hans van der Meer, Hans Eijkelboom, Hans Samsom, and visual editor Hans Wolf, Aarsman initiates the ‘Kleine Hans’ (‘Little Hans’), a yearly prize for ‘non-pretentious’ photography. Aarsman’s monologue on photography, entitled Niemand kan het (‘No One Can do It’) is performed by Carly Wijs at the Nederlands Fotomuseum in Rotterdam and elsewhere.
2008	Under the title of ‘Photography as Antidote to Consumerism’, Aarsman publishes snapshots in Foam Magazine of items he has thrown away after a shooting a photo: photography as a means to limit one’s possessions. The snapshots are shown at the Photographers’ Gallery in London The magazine Esta introduces a new column—starting with issue number 18—in which Hans Aarsman analyses photos from the Spaarnestad Photo Archive.
2009	Aarsman is the curator of Off the Record, an exhibition of proposals for municipal art acquisitions to be made by the Stedelijk Museum Amsterdam, held during the Art Amsterdam Fair at the RAI Convention Centre. The exhibition and acquisition of ‘photos that have not been taken with an initial intent based on artistic considerations’ leads to heated discussions and critique.
2010	Aarsman initiates a discussion programme about written journalism and photography, together with Joris Luyendijk, journalist and author of the book People like us: Misrepresenting the Middle East. The first edition is held on 20 June at the Paradiso in Amsterdam.
	Aarsman’s complex relationship with the medium of photography is the subject of a book to be published in the near future.

Discussion

Hans Aarsman’s career as a photographer is marked—to put it mildly—by a number of fairly radical shifts in direction. Having started out as a photojournalist, in the mid-1980s he broke away from what he saw as the simplistic, contradistinctive, black-and-white rhetoric of socially engaged photography. Aarsman assigned the leading role to his dynamically moving camera for projects such as Openbare rituelen (‘Public Rituals’) and Holland Festival. Two years later, he went on to formulate a completely new take on photography with Hollandse taferelen (‘Dutch Scenes’). It was his first step in an effort to achieve a form of perception that was objective and transparent. Shot with a technical camera, Aarsman’s colour photos of the contemporary Dutch cultural landscape—pairing panoramic distance with mild irony—created a major stir and inspired others. Void of anything that smacks of predictability and individual recognition (authorship), Aarsman evolved to become the most conceivably neutral registrator of urban complexity in large urban areas, as demonstrated in projects that were to follow, with Aarsman’s Amsterdam as one example. In his work of the last ten years, he has come to identify himself with the ‘snapshooter’ who captures what moves him or what he wishes to remember, without any regard for aesthetic motivation or artistic intention. In the end, Aarsman’s work can perhaps best be described as a photographer’s doomed attempt to withdraw from photography, or he once put it himself, to let the camera ‘do it’s work’. The paradox, surely, is that all attention returns once again to his own creative personality because of the extrovert and explicit manner in which he presents his position. Furthermore, Aarsman’s days of profiling himself solely as a photographer have long come to an end. Much more emphasis is placed on his capacities as a (theatrical) writer, editor, and organiser of exhibitions. What drove Aarsman to forsake photography during the 1990s for an extended period of time was his aversion to the predictable rhetoric and the photographic ‘mannerisms’. His analytical ability—in part thanks to his unmistakable literary talent—serves as the basis for his novels, theatrical monologues, and published articles on photography. Finally, Aarsman’s desire for transparency and ‘authenticity’ takes its form in publications and exhibitions, with user’s photography and amateur shots playing an integral role. These days, he is in great demand as a writer, editor, and speaker, who raises the inevitable uproar in the world of art and photography time and again with his activities and declarations.

Like many photographers of his generation, Aarsman never received any formal education in photography. His first camera was a Nikkormat mirror reflex, purchased in 1978 on the advice of a professional photographer who was a regular customer in the cafe where he worked during his days of studying Dutch language at the University of Amsterdam. At this time, Aarsman actually had no intentions to shoot photos with any kind of concerted effort.

Typically enough, Aarsman shot his first successful photo only when encountering a situation that intrigued him: Dries van Agt, the number-one candidate of the Dutch political party CDA, had just stepped into his car while making an election campaign stop in the Bijlmer neighbourhood of Amsterdam and was licking his finger to page through a file. Aarsman’s shot is taken from close up and possesses all of the formal qualities and content of a classic journalistic moment. Aarsman learned to photograph through practice, inspired in his endeavour by Harry Meijer, whom he had befriended at the RABK (Rijksakademie van Beeldende Kunsten, ‘National Academy of Fine Arts’) in Amsterdam. The University of Amsterdam’s collaboration with the academy enabled him to take a class offered by the latter institution, entitled ‘Visual Communication’, as an elective for his doctoral study. From an early stage, Aarsman and Meijer experienced the RABK as overly competitive and excessively artistic. They wanted to make reportages, photographing subject matter such as a night porter in Amsterdam and taking photos during a trip across Portugal. To complete their class, Aarsman and Meijer set up the magazine Plaatwerk (‘Plate Work’), together with another fellow student, Peter Schaap. The three students were of the opinion that photos had never been done full justice, neither at exhibitions or in books (too limited and isolated), nor in the press (as an enticement for another man’s story). Plaatwerk was to be driven by photography itself. In doing so, it was intended to ‘obtain and create insight regarding the way in which the world around us functions’.

Aarsman, Meijer, and Schaap were not the only young photographers desiring a platform of their own for their work. The first issue of the virtually textless Plaatwerk appeared in late 1980. The same year as well marked the appearance of two other photography magazines in the Netherlands: Zien (‘Seeing’), which focused on photography as an artistic medium; and Perspektief, which concentrated on the emancipation of the photographer and photography. In these two latter publications, text did play an important role. Like Plaatwerk, they arose from initiatives undertaken by the photographers themselves. Contrary to the professional photography magazines that already existed, one did not find camera tests, darkroom tips, and photography-related ads. While all of the photographers involved were aware of the others’ initiatives, the three magazines served as platforms for various target groups that were substantially different, particularly in the early 1980s.

Even though the subtitle for Plaatwerk had initially read ‘tijdschrift voor sociale fotografie’ (‘magazine for social photography’), there was no explicit political orientation or left-wing social engagement involved. This was by no means a given in an era when social photography was a hot item in the Netherlands—not just as a ‘style’ in journalistic and reportage work, but also because of the first history-oriented publications on topics such as workers photography and on the history of photography as a means to address social injustice. Both militant and left-wing was the group of photographers centred around the USVA (Universitaire Stichting Vormings Activiteiten, ‘University Foundation Formative Activities’) in Groningen. As early as 1981, Aarsman staged an attack on what he described as the predictability of the social photography being propagated there. During a forum discussion conducted within the framework of a series on this subject in Groningen—organised by the ‘Studium Generale’ of the University of Groningen in collaboration with the USVA/GFK (Gronings Fotokollektief, ‘Groningen Photo Collective’)—Aarsman maintained that the present-day social photography was still following a model developed back in the 1930s and relying upon on an all too familiar form in order to find appropriate content. In other words, Aarsman believed that social photography was completely subordinated to meet highly specific conventions when it came to addressing human injustice and suffering. As well in the articles that he wrote in the early 1980s for the film magazine Skrien, he criticised the stereotypes based on the rhetoric of contradistinctions encountered in ‘socialist photography’—poor versus rich, power versus injustice, good versus evil. Also noteworthy is that Aarsman, in his discussion of a study on the textile industry in the Twente/Achterhoek region of the Netherlands in Skrien, attributed a far greater expressiveness to the autobiographical texts in the book than the photos. His awareness of the meaning of text and image, as well as combinations thereof, were to colour his own documentary work during this period, as we shall observe.

Aarsman’s interest actually lay much more in the field of sociology. In the first issue of Plaatwerk, he published eight pages with portraits that were intended to show ‘how ordinary people function in the reality of the day-to-day’: the series De leraren/De hospitanten (‘The Teachers/The Teaching Interns’) was an area in which he possessed some knowledge, stemming from his past experience as a substitute teacher at the LBO Don Bosco (Lager Beroeps Onderwijs, a ‘Lower Vocational Education’ secondary school) in the mid-1970s. The focus on everyday reality resulted in minimally intriguing, predominantly frontal shots of men and women in the class and on the sports field, looking overly serious and possessing a body language that was vaguely defensive. Plaatwerk stopped after two issues, but in 1983 the magazine reappeared once again and continued to be published on an intermittent basis until 1989. A number of its functions as a platform for (documentary) photography were subsequently taken over by the new photo agency Hollandse Hoogte.

In the first issue following Plaatwerk‘s new start in 1983, Aarsman published the reportage Ouders op bezoek (‘Visiting Parents’). The series that was published in the newspaper Het Parool and later in Vrij Nederland led to allegations, albeit unfounded, that he had staged various situations in his photos—a mortal sin in photojournalism. There was, however, perhaps another explanation for the intensity with which these accusations were made. In the early 1980s, Rotterdam was associated with the staging of photos. The staged art photography that was predominant primarily in the photography circles of Rotterdam—and published in Zien and Perspektief—was often denounced by photographers in Amsterdam. It was seen as the excessively artistic antipode of social documentary photography, which was historically anchored in the Dutch capital, in part due to the presence of the GKf (Gebonden Kunsten Federatie, vakgroep fotografie, ‘United Arts Federation, Department of Photography’).

The subject matter of Ouders op bezoek was the often awkward relationship between parents and their children attending university. Aarsman gave this topic its context by quoting the students themselves. Indeed, the photos do resemble small theatrical scenes, with details such as gestures and facial expression suggesting complex emotions. Aarsman borrowed the idea of having students speak for themselves from Bill Owens’ working approach in Suburbia, a documentary published in book form in 1972 concerning the life of ordinary Americans living in the newly built post-war suburbs. The struggle with the classic model—in which the (preferably socially involved) photographer or journalist essentially gave form to his viewpoint of the individuals photographed—also played a role in Aarsman’s work for Kerk in verandering (‘Church in Transformation’). The Rijksmuseum’s Department of Dutch History had chosen him for this documentary assignment, which likewise occurred in 1983, together with Oscar van Alphen and Harry Meijer. While Van Alphen focused on time-tested, enduring religious themes such as guilt, punishment, virtue, and loyalty, Meijer and Aarsman turned to a wide range of contemporary events organised by the church as a social and religious institution, as well as people’s personal perceptions. An excellent example is Aarsman’s photo of a man kneeling in prayer (Aarsman’s own father), categorised under the sub-theme of De scheiding der geesten (‘The Discernment of Spirits’). The text accompanying the photo reveals that, though he still adheres to Catholic religious ritual, he has distanced himself from the traditional social stratifications typically encountered in Dutch society, in complete accordance with the spirit of the times. Just as with Owens, the combination of an image and a personal quotation occasionally induced a feeling of discomfort in the person observing, certainly in the era prior to ‘Big Brother’. For Aarsman, this was clearly a first step towards the revitalisation of his role as a photographer. His interest in photography had always encompassed more. In 1985, Aarsman published a reportage in Plaatwerk dating back to 1950, which depicted the engagement of the parents of his girlfriend at the time, Mieke van der Weij. This was the first manifestation of his great love for amateur photography. Shortly thereafter—following the introduction of Winfred Evers’ constructed photos, a form that was unusual for Plaatwerk—Aarsman left the magazine’s editorial board and cancelled his membership with the photographers association GKf. In both cases, he wished to free himself from what he saw as an unduly limited, introvert mentality regarding photography.

Aarsman’s decision to quit with doing editorial work for Plaatwerk and to leave the GKf occurred in the same period that he threw his towel in the ring as a professional photographer, thereby ending his career as a photo reporter. Nonetheless, Aarsman was initially enthusiastic about ‘entering the reportage concept’, following his experience at the RABK. It was then that he purchased his first Leica. It was stemming from his series on the bilingual debate going on in the ‘Voer Region’ of Belgium that Aarsman first found a publication interested in acquiring his work. In the early 1980s, the magazine Nieuwe Revu had introduced a daring formula of sex, sensation, and socialism, combining banal entertainment and violence with quality photo reportages on a variety of societal topics. Aarsman felt an affinity with his colleagues there at the time, which included the photographers Hannes Wallrafen, Taco Anema, and Berry Stokvis.

It did not take long before Aarsman was confronted with the manipulative side of photojournalism, while working on a reportage concerning the consequences of the earthquake in Italy in 1981. Jan-Willem Clinge Doorenbos, a journalist with Nieuwe Revu, had suggested he buy chickens and distribute them to the earthquake victims, so as to photograph them while sitting down to eat Christmas dinner. Aarsman refused to go along with this charade. Only then did he hear that a number of his photos were unsuitable for the article’s concept. At issue were photos showing how a number of homes belonging to the wealthy were built more sturdily and had therefore managed to survive the earthquake. Aarsman’s photos were ultimately published in De Groene Amsterdammer (‘The Green Amsterdammer’). He would continue to do photographic work for this weekly magazine until the late 1980s, while also furnishing photos to the Nieuwe Revu until his departure there in 1982. Aarsman’s experience at the Nieuwe Revu would leave a lasting impression: manipulation has been a recurring motif since the inception of his column in the newspaper De Volkskrant, entitled ‘De Aarsman collectie’ (‘The Aarsman Collection’), in 2004.

In the early 1980s, Aarsman saw photographers such as Bert Nienhuis and Willem Diepraam as his role models. Despite his criticism of ‘socialistic’ photojournalistic conventions, no veritable distinctions are to be found in Aarsman’s work when compared to that of his contemporaries: the use of the wide-angle lens, a predilection for intense, even grimy black, and classic journalistic subjects were predominant. In the mid-1980s this changed, however, when Aarsman became increasingly convinced that reportage photography—which was more or less grounded in humanistic principles—had very little to do with reality. Just as he denounced social photography before, in his view the journalistic photo existed too much through the grace of overtly explicit visual contradistinctions: in short, his work had become predictable. In Ouders op bezoek and Kerk in verandering Aarsman as yet equivocated a good photo with the right moment, as seen and chosen by the photographer. In his next major series, however, he shifted his attention to the photographic act and the camera, but also to topics that were less traditional journalistically. For Aarsman, subsidised documentary assignments were particularly useful for trying out other approaches. In 1984, he received an assignment from the AFK (Stichting Amsterdams Fonds voor de Kunst, ‘Amsterdam Fund for the Arts’), entitled Openbare rituelen (‘Public Rituals’), which entailed the photographing of public gatherings such as openings, press conferences, cocktail parties, celebrations, and award ceremonies. Just prior to this, Aarsman had come across the book Public Relations (1977) by the American photographer Gary Winogrand, featuring shots of all kinds of public gatherings that were similar. Although initially repelled by Winogrand’s disordered, minimally aesthetic approach to reality, Aarsman eventually became fascinated with his disorienting view of the world: photos full of unstructured chaos, shot with a wide-angle lens, a flash, and not so carefully framed. In his view, Winogrand’s photos seemed to reflect reality much more directly than the highly encoded images encountered in reportage photography. Winogrand also taught Aarsman that, in photography, the subject matter is to be presented as it is, to the highest degree possible. To avoid explicit statements concerning reality, as well as interpretations thereof, Aarsman attempted to ’emphasise the photographic character of his photos’, as he formulated it in his own words: he tilted the camera, spent no time considering a good composition, and let the photo arise from a random click of the shutter. With his next assignment—produced on behalf of the Holland Festival—Aarsman took his newfound freedom to the extreme. By throwing his camera in the air, combining flash with available light, and introducing a short exposure time and a wide aperture, he devised a tactic that produced disorienting images that were full of movement.

Aarsman’s attempt to escape photographic authorship nevertheless failed. His shots of the Holland Festival proved to be the perfect manifestation of a readily identifiable ‘style’, which he soon began to find ugly himself. It would mark the end of Aarsman’s career, both as a reportage photographer and a photojournalist. Interestingly, Aarsman’s desire to avoid taking on the role of the ‘maker’ was the very opposite of mainstream thinking at this time, with photography seen more emphatically as a form of art and reportage and documentary photographers even receiving due recognition of authorship. In a certain sense, his quest for ‘real’ photography was filled with such paradoxes. The culmination is naturally that every single step Aarsman has taken up until the present day—no matter how hard he tries to resist personal style—has been followed by an extraordinary amount of interest in his highly personal, creative motifs and ideas. This most certainly the case with Hollandse taferelen, a project that provided him with a platform in the international art world—effortlessly and justifiably—in part thanks to the book as well as the exhibition of the series at the Stedelijk Museum in Amsterdam.

Once Aarsman laid aside his flying Leica, the technical camera became the new tool to find out what photographed reality could look like. Distance, inertia, and sharpness were designed to serve as a counterweight to closeness and expressiveness. The first photos that Aarsman took in this roundabout way, shot at a demonstration in the vicinity of the Borssele nuclear plant and during the queen’s visit to Breukelen, strengthened him in his conviction that photographing the world as a theatrical stage—as a model train landscape—gave the viewer more options to make discoveries on his own, as opposed to the sympathetic, but overly controlling vision of the socially engaged photographer. In part provoked by photos of everyday America as depicted in Stephen Shore’s Uncommon Places and the subtle anecdotal quality of Joel Sternfeld’s American Prospects, Aarsman decided to photograph the day-to-day Netherlands. Shore had financed his trip across the United States via a grant he had been awarded, a so-called Guggenheim Fellowship. In similar fashion, Aarsman arranged a degree of freedom for himself by publishing a weekly piece in the newspaper Trouw and through a subsidy from the BKVB (Fonds voor Beeldende Kunsten, Vormgeving en Bouwkunst, ‘Fund for the Fine Arts, Design, and Architecture’). He then went out and bought a camper, and from April 1988 to February 1989, began photographing— his first time in colour—the far from spectacular reality of the contemporary man-made landscape in the Netherlands, along with its towns and villages, rivers, and highways. In Aarsman’s previous work, people were always a determining factor. By contrast, he now treated human figures as nothing more than the logical filling for a scene, by virtue of their mere presence. Aarsman’s photos, shot from the roof of his car with a Linhoff technical camera, inevitably with a tripod, appeared as a weekly item in Trouw, accompanied by a column written himself. In 1989, Uitgeverij Fragment published both the photos and the texts in book format. Around the same time, the photos were exhibited at the Stedelijk Museum Amsterdam. Aarsman’s narrative, the monumental format of the prints (104×124 cm), and the fact that these images were exhibited in colour without glass or frame, received substantial interest from both the public and the press. It was not just a definitive break with his photojournalistic past: for the Netherlands, Hollandse taferelen—along with the 1992 photobook Giflandschap (‘Poisoned Landscape’) by Aarsman’s colleague and friend Wout Berger—marked a reorientation towards documentary photography, applying the tools of the studio photographer.

The most important quality of Hollandse taferelen was in fact a (re-) assessment of photography based on its traditional registrational merits, as opposed to fabrication or emphatic manipulation on aesthetic grounds. During the 1990s, large format and colour subsequently became standard fare for documentary photography in the Netherlands. Aarsman’s analytical, detached approach was in harmony with an international trend, which enjoyed popularity chiefly among students of the German husband-and-wife team of Bernd and Hilla Becher. In Hollandse taferelen, Aarsman shared Andreas Gursky’s preference for cool light without shadows and a maximally neutral vantage point, either high or far away, so that every form of commentary—any suggestion of an opinion—could be avoided by producing images of optimal transparency. The projects that followed were the result of the same contemplative manner of observation, e.g. Aarsman’s photos of Stadslandschappen in Oost-Duitsland (‘Urban Landscapes in East Germany’) from 1990, De Alexanderpolder, waar de stad verder gaat (‘The Alexander Polder, Where the City Continues’) from 1991, and his work on behalf of ‘Antwerp, European Capital of Culture’ from 1993. Hollandse taferelen, in particular, was picked up by the art and gallery world. The images were carefully mounted in frames and sent to a variety of exhibitions in the Netherlands, France, Germany, and the United States. The success and artistic recognition that Aarsman’s work received was completely understandable: though ostensibly neutral, the portrayal of the Netherlands in these images was most certainly typifying and personally tinted. To a substantial degree, the Dutch cultural landscape exists plain and simply by the grace of a wondrous synthesis of spatial planning, executed to the extreme, and visual chaos, as Aarsman’s shot of a highway and road signs near Den Oever clearly exemplifies. And despite every effort to achieve neutrality, the photographer who selects with careful discernment can still hardly refrain from paying his respects to the absurdness of this reality by photographing a wheelbarrow in Netersel with a dead cow draped over it—an image in fact every bit as surrealistic as the Hungarian photographer André Kertész’s Odalisque.

The phenomenon of photos as costly objects was (and remains) of no interest to Aarsman, who refused to produce his work in a limited edition, just as a growing number of photographic ‘authors’ had begun to do this very thing. This is then where a possible comparison with the Becher students—photographers expressly operating in the art world—comes to an abrupt halt. With the acquisition of the entire series Hollandse taferelen by the NFM (Nederlands Fotomuseum, Netherlands Photo Museum) in 2006, Aarsman saw his chance to make a life-size statement directed at the photographic art trade. Ninety-nine photos were placed on the Internet and made accessible free of charge as a special project. In addition, anyone who submitted two prints of Aarsman’s photo Waterhuizen 1988 in a maximum format of A3 to the NFM could expect to receive one in return, signed by the photographer himself. The other print then came into the museum’s possession in order to build a special collection of prints signifying snapshots of the quality of the common home printer. Aarsman’s move inevitably sparked heated discussions among the rank and file of the photography and the art dealing worlds, concerning artistic quality, reproducibility, and the inherent, or rather, monetary value of photography.

Aarsman’s growing predilection for the registrational qualities of the camera was given a major boost in the early 1990s. At this time, he was working on a book that featured historical shots of Amsterdam, produced in collaboration with the photographer Hans van der Meer: Stadsgezichten 1860-1975. Amsterdam in de verbeelding (‘Cityscapes 1860-1975. Amsterdam in Pictures’), published in 1991. The two men discovered photos in the Amsterdam City Archives taken without pretence. The images had been produced by Arsath Ro’is, who photographed on assignment for the Dienst der Publieke Werken (‘Department of Public Works’) in the 1960s. Because his moped had once been stolen while out shooting photographs, Ro’is had always taken measures to ensure it was within range of his viewfinder, with his vehicle consequently figuring in every shot. In combination with this personal story, Ro’is’ matter-of-fact approach to photography inspired Aarsman in the production of his next series, entitled Aarsman’s Amsterdam, which was published in book format in 1993, awarded the Maria Austria prize, and exhibited at the Stedelijk Museum Amsterdam and elsewhere. In a certain sense, these photos—printed in a standard format of 30×40 cm—were more radical than the generally resplendent Hollandse taferelen: fragments of the complex urban reality photographed in a seemingly haphazard manner. By this time, Aarsman had already traded in his technical camera for a Fuji 6×9 inch.

Alongside his work as a photographer, Aarsman had always published articles on the topic of photography. Only with Hollandse taferelen, however, did he actually become a writer. In the weekly columns in Trouw, his subject matter primarily concerned his own personal struggle with the medium, about his striving for ‘a manner of representation that refrains from relying so flagrantly on visual media’. In other words, a striving for photos that preserved their self-evident relation to reality without the photographer intervening in an overly dominant way. In his first novel as well, entitled Twee hoofden, een kussen (Two Heads, One Cushion’), Aarsman expressed his desire—through text—to be able to summon reality on the basis of simple registration. Although intended as fiction, the autobiographical angle of this novel is more than obvious. It likewise formed a second motif that was becoming more important work during this period, equally evident in the astute, for all appearances casually formulated journal entries in Aarsman’s Amsterdam. The introspective tone inspired the actors/directors Josse de Pauw and Tom Jansen to approach him with a request to write a theatrical monologue for Dirk Roothoft, entitled De wijze van zaal 7 (‘The Way of Room 7’, 1996), in which a museum guard speaks. The challenge appealed to Aarsman, a big fan primarily of theatrical language (Shakespeare) and it was something he would do more than once.

Upon discovering the novels of Sir Arthur Conan Doyle in 2003, Aarsman’s approach to (photographed) reality received a new impulse. In ‘De Aarsman collectie’, his weekly column appearing in De Volkskrant starting in 2006, he probes the nature of photos by applying the analytical methodology of the detective Sherlock Holmes. The columns—with two selections published in book format at this time—offer an inspiring course in observation. Though sometimes subject to personal obsessions, Aarsman takes (journalistic) photos and finely dissects them in a sharp-witted manner.

In 1990, Aarsman photographed his father on his deathbed on an impulse. The shots signified a kind of bottom limit: it was simply not possible for him to make a simpler registration or a more autobiographical observation in his role as a photographer. He took the film’s contact sheet, which included a couple of self-portraits, and placed it on exhibit, because, as he related in Aarsman’s Amsterdam, these were truly images of himself, surpassing every form of his position as an outsider. Regardless of whether this is ultimately true, it signalled a definitive move in the direction of a personal, autobiographical approach to photography, involving simple analogue, and later, digital 35 mm cameras. On occasion, Aarsman’s snapshots were exhibited or published; just as frequently, he worked with the photos of others. Five snapshots, in the form of large framed inkjet prints, were shown at the exhibition For Real, held at the Stedelijk Museum in the same year that he and four other friends set up the magazine Useful Photography (2001). The nine issues that have been published since are devoted almost exclusively to user’s photography: by definition non-artistic, strictly functional, and the most direct registration possible.

In the book Onzichtbaar Gent (‘Invisible Ghent’, 2004), produced on assignment for a planned municipal museum in Belgium, Aarsman decided in favour of the non-picturesque aspects of the city, photographed in a snapshot style. To get even closer to reality, he also incorporated statistics regarding matters such as the most common hors d’oeuvres on restaurant menus, the social functions of those after whom the city’s streets had been named, and the number of chewing-gum stains on the street per square meter. In Vrrooom! Vrrooom!, an autobiography and account of Aarsman’ life-long love of cars published one year earlier, Aarsman also included statistics on the least likely aspects of the automobile as a social phenomenon, to accompany both his own photos as well as other collected images.

Aarsman’s conviction that photos are often more meaningful in spite of, rather than because of, artistic intention was what inspired him to devise the concept for Off The Record. This 2009 exhibition, coinciding with Art Amsterdam at the RAI Convention Centre and organised under the supervision of the Stedelijk Museum, comprised proposed works for municipal art acquisitions. Professionals and amateurs exhibited series that had generally been produced as daily journal entries, as the initial phase of a process, or as a documentation of a continuously recurring act—i.e. series that had not been created on the premise of producing a finished work of art. This more conceptual approach to photography has been unmistakably influenced by Aarsman’s years working as a mentor at the RABK, where photography is treated simply as one of the many visual means currently available, and not, as is usually the case in the photography world, as a fully developed end product. The exhibition—and especially the Stedelijk Museum’s acquisition of amateur photography—led to an intense debate on the photography website Photoq.

Hans Aarsman’s contribution to Dutch photography in the last decades has been major, through his own personal development as well as the eloquence with which he communicated his position and opinion from the very start of his activities as a photographer. No small detail is the manner in which the work of several American photographers from the 1960s and ’70s—Owens, Winogrand, Shore, and Eggleston—inspired and influenced him.

In his own work, Aarsman’s first step was to break away from the ideologically loaded conventions associated with social photography that were developed in the 1970s. He then introduced colour and panoramic detachment to documentary photography, ultimately sparking a renewed interest in the time-tested, or rather, personal photographic qualities of the commissioned photo, user’s photography, and the family snapshot.

Although the large-format shots, taken in around 1990, are reminiscent of those produced by his contemporary Andreas Gursky, Aarsman proved to be averse to both artistic pretension and the exclusivity demanded by the growing art market for photography—to some degree an unmistakably Dutch trait. Those with whom he does share an affinity are the photographers and artists fascinated by the use, functioning, and meaning of photography, as well as the collections of Hans Peter Feldmann amd Hans Eijkelboom, Seiichi Furuya’s obsessive portrait series, and the combinations of archival images with original photos in the work of Julian Germain.

In the Netherlands, Hans Aarsman has inspired numerous photographers, either directly or indirectly, as well when assisting fellow photographers such as Bertien van Manen or Ad van Denderen in the selection and editing of their projects. The use of simple 35 mm cameras, the introduction of snapshots, the selection of subject matter that is not painterly by definition, an interest in archive material: all of these strategies now belong to the common good in contemporary photography, in part thanks to Hans Aarsman. These methods suggest a modern propensity for authenticity and characterise a romantic personality, who draws his charm in no small part from the aforementioned coexistence of the clever, willingly present writer and the withdrawing introspective observer.

Documentation

Primary bibliography

Hans Aarsman e.a. (red.), [tijdschrift] Plaatwerk (1980) 1, 1 (april/mei 1983) 2 t/m 2 (november 1985) 12.

Hans Aarsman (foto’s), De leraren / De hospitanten, in Plaatwerk (1980) 1, p. 8-15.

Taco Anema e.a. (samenstelling) en Hans Aarsman e.a. (medewerking), Mijn moeder vindt het ook. De bewapening, het antimilitarisme en de vredesbeweging in beeld, Amsterdam (SUA) 1982.

Hans Aarsman, Krantenfotografie. Clichés over de derde wereld, in Skrien (zomer 1982) 119/120, p. 54-55.

Hans Aarsman, Arbeidersfotografie, in Skrien (zomer 1982) 119/120, p. 63.

Hans Aarsman, Militarisering van het Noorden. Tentoonstelling Gronings Fotografen Kollektief, in Skrien (zomer 1982) 119/120, p. 69.

Hans Aarsman, Leugen en waarheid, in Skrien (september 1982) 121, p. 26-27.

Hans Aarsman, Een eeuw in de fabriek, in Skrien (februari 1983) 124, p. 20-21.

Hans Aarsman (foto’s), Ouders op bezoek, in Plaatwerk 1 (april/mei 1983) 1, omslag, p. 3-7.

Hans Aarsman (foto’s) en R. Ferdinandusse e.a. (tekst), Ouders over hun kinderen, in Bijvoegsel Vrij Nederland (30 juli 1983) 30, p. 2-7, 9-15, 17-23.

Hans Aarsman, Oscar van Alphen en Harry Meijer, Kerk in verandering, Plaatwerk 1 (januari/februari 1984) 5.

Hans Aarsman, Mij krijgen ze niet weg, in Plaatwerk 2 (oktober 1984) 8, p. 20-27 (met foto’s).

Hans Aarsman, Jong geluk langs de Ourthe. Een verlovingsreisje in de jaren vijftig, in Plaatwerk 2 (januari 1985) 9, p. 12-20.

Hans Aarsman, Openbare rituelen, in Plaatwerk 3 (april 1986) 14, omslag, p. 4-15.

Hans Aarsman, Palermo, Sicilië, mei 1981, in Plaatwerk 3 (maart 1987) 18, p. 6.

Hans Aarsman, Denken is moeilĳk, niet denken is moeilĳker. Elf serieuze fotografen en de aanloopstrook, z.p. [Amsterdam] (Riba-pers) 1988.

Hans Aarsman (tekst en foto’s), Hollandse taferelen, in Foto 43 (april 1988) 4 t/m 44 (maart 1989) 3.

Hans Aarsman (tekst en foto’s), Hier op aarde [wekelijkse column], in Trouw 9 april 1988 t/m 28 januari 1989

Hans Aarsman (tekst en foto’s), Hollandse taferelen, Amsterdam (Fragment) 1989.

Hans Aarsman, Een rij werkelijkheid, in Catalogus tent. Foto’s voor de stad. Amsterdamse documentaire foto-opdrachten 1986-1988, Amsterdam (Museum Fodor/Gemeentearchief Amsterdam) 1989, ongepag.

Hans Aarsman, De keus van Hans Aarsman. 15 jaar fotografie, in Trouw 29 juli 1989, p. 17.

Hans Aarsman, Taco Anema en Hannes Wallrafen, Origineel in kleur. (N)iets nieuws van Hans Aarsman, Taco Anema en Hannes Wallrafen?, in Foto 44 (oktober 1989) 10, p. 77-83 (met foto’s).

Hans Aarsman, De gewoonte om…, in Madame de Vue (1990) 1, p. 26-33.

Hans Aarsman, Pleidooi voor een ralistische fotografie, in Foto’s in schrift, Raster. Tijdschrift in boekvorm (1990) 49, p. 13-15.

Hans Aarsman en Hans van der Meer (samenstelling) en Melchior de Wolff (tekst), Stadsgezichten 1860-1975. Amsterdam in de verbeelding, Amsterdam (De Verbeelding) 1991.

Hans Aarsman, [Zonder titel], in Anne-Mie Devolder (hoofdred.), De Alexanderpolder. Waar de stad verder gaat = Alexanderpolder. New Urban Frontiers, Bussum (THOTH) 1993, p. 130-135 (met foto’s).

Hans Aarsman, Aarsman’s Amsterdam. Foto’s & notities, Amsterdam (De Verbeelding) 1993.

Hans Aarsman, De terloopse stad, in René Boomkens (samenstelling), Ontwerpen voor de onmogelijke stad, Amsterdam (De Balie) 1993, p. 85-95 (met foto’s).

Hans Aarsman, Hollands dagboek, in NRC Handelsblad 24 april 1993.

Adriaan Morriën en Hans Aarsman, Bij de vloedlijn. De strandportetten van Rineke Dijkstra, in Vrij Nederland 54 (15 mei 1993) 19, p. 56-61.

Hans Aarsman (foto’s), The act of seeing [urban space], Brussel (Fondation pour l’architecture) 1994.

Hans Aarsman e.a. (tekst), The lazy man’s guide to Winfred Evers. A compact collection with written contributions, Amsterdam (Torch Gallery) 1994.

Hans Aarsman, [Zonder titel], in Catalogus tent. Ik + de ander. Contemporary art exhibition on the human condition, Amsterdam (Beurs van Berlage) 1994, p. 100-101.

Hans Aarsman (foto’s en tekst), Wereldreiziger, in Noorderbreedte 18 (januari/februari 1994) 1 t/m 19 (november/december 1995) 6.

Hans Aarsman (tekst en ontwerp), Het engeltje dat op mijn tong pieste, z.p. [Amsterdam] (De Verbeelding) z.j. [1995].

Hans Aarsman, Twee hoofden, één kussen, Amsterdam (Van Gennep) 1995.

Hans Aarsman, De wijze van zaal 7, Antwerpen/Amsterdam (Bebuquin/International Theatre & Film Books) 1996.

Hans Aarsman, Zapman, in NRC Handelsblad januari 1996 t/m januari 1997.

Hans Aarsman, Rijksweg A2 ter hoogte van Zaltbommel, in Kunstschrift 40 (januari/februari 1996) 1, p. 44-45.

Hans Aarsman, De last van de kunst, in Frans de Ruiter en Marianne Versteegh (red.), Kunsten ’92 over verkiezingen ’98. Hoofdlĳnen voor een kabinetsbreed cultuurbeleid. De noodzaak van een infrastructuur voor de geest, Den Haag (Vereniging Kunsten ’92) 1997, p. 19-20.

Hans Aarsman, Zapman. De sportcolumns van Hans Aarsman, Amsterdam (De Verbeelding) 1997.

Hans Aarsman, 6 x 365 x 200. Gary Winogrand, in Metropolis M 18 (augustus/september 1997) 4, p. 26-29.

Hans Aarsman, Alle herinnering wijst dezelfde kant op, in Hollands Licht (1998) 4, p. 4-5.

Hans Aarsman (tekst en foto), Laat zitten, blijf toch af, in Kastalia (1999) 1, p. 27-34.

Hans Aarsman (tekst), Stripverhaal, in The Dummy Speaks (1999) 1, ongepag.

Hans Aarsman (tekst en foto’s), Dit is het. Meer niet, in The Dummy Speaks (1999) 2, ongepag.

Hans Aarsman (foto’s en tekst), Entschuldigung, wie heisst denn diese Strasse?, in Bzzletin 28 (februari 1999) 263, p. 3-8.

Hans Aarsman, Familiealbum, in Metropolis M 20 (juni/juli 1999) 3, p. 22-23.

Bart Sorgedrager e.a. (selectie fotografen) en Hans Aarsman e.a. (tekst en foto’s), België-Holland in foto’s. Voetbal in de Lage Landen, Antwerpen/Amsterdam (DB-S Fotografie/Stichting Holland-België) 2000, ongepag.

Hans Aarsman (tekst en foto’s) Haastige spoed, in The Dummy Speaks (2000) 4, ongepag.

Hans Aarsman (tekst en foto’s), Vrouwen zonder fiets, in Kastalia (2000) 3, omslag, p. 29-37.

Hans Aarsman, Talkin’ around, part 3: Room sever, the attendant reflects, in Re-Magazine (zomer 2000) 4, p. 12-14.

Hans Aarsman (tekst en foto’s), Chinagirl, in Marie Claire (december 2000) 12, p. 14-20.

Hans Aarsman, Gerard Doustraat, in Kester Freriks, Esther Jansma en Xandra Schutte (red.), 100 uitzichten op Amsterdam, Amsterdam (Meulenhoff) 2001, p. 129-130.

Hans Aarsman, Vluchtig en toch diepgaand = Fleeting and yet Profound, in Els Barents e.a. (red.), KPN collectie fotografie, Amsterdam (Huis Marseille, stichting voor fotografie) 2001, p. 90-103, 106 (met foto’s).

Marnix Goossens (foto’s) en Hans Aarsman (tekst), Regarding nature. Natuur in Almere, Amsterdam (De Verbeelding) 2001.

Hans Aarsman e.a. (red.), [tijdschrift] Useful photography (2001-2009) 001 t/m 009.

Hans Aarsman, De onwillige slager, in De Rijksmuseum Foto Gids, De gids. Nieuwe vaderlandsche letteroefeningen 164 (januari/februari 2001) 1/2, p. 58-61.

Hans Aarsman en Emo Verkerk, Kaartje voor twee (Frisia Museum), in Kastalia (2001) 4, p. 17-18.

Hans Aarsman, Kaartje voor twee, in Kastalia (2001) 5, p. 38-39.

Hans Aarsman, Horen & zien. Vluchten uit Jamaar-jamaarland, in Vrij Nederland 1 september 2001, p. 52-55.

Hans Aarsman, Niet van de Aap, in Rein Jelle Terpstra, Album van niet gemaakte foto’s, Amsterdam (De Balie) 2002, p. 8-11

Hans Aarsman (foto’s, samenstelling, ontwerp), Ze hadden er al moeten zijn, Brugge 2002.

Hans Aarsman e.a. (red.), Useful photography. War special, z.p. [Amsterdam] (Artimo) z.j. [2002].

Hans Aarsman, God’s eigen studio = God’s own studio, in Foam Magazine (januari 2002) 1, ongepag.

Hans Aarsman, Kaartje voor twee, in Kastalia (2002) 6, p. 18-19.

Hans Aarsman en Emo Verkerk, Kaartje voor twee, in Kastalia (2002) 7, p. 68-69.

Hans Aarsman, Bertien van Manen, in Alex Farquharson (red.) Citybank Photograpy Prize 2003, Londen 2003, p. 29-30.

Hans Aarsman, Do we just keep complaning about injustice or do we set an example?, in René Boomkens e.a., New commitment. In architecture, art and design, Rotterdam (NAi Publishers) z.j. [2003], p. 27-31 (serie: Reflect 01).

Hans Aarsman, Krakersdemonstratie, in Jildou van der Bijl (red.), De Revu Gepasseerd. 50 jaar Nieuwe Revu. 50 Nieuwe Revu-fotografen, z.j. [Hoofddorp] (Nieuwe Revu etc.) 2003.

Hans Aarsman, Tekenen met Auto’s, in Marieken Verheyen (red.), De sleutel ligt onder de mat, Den Haag (Stroom HCBK) 2003, p. 66-67.

Hans Aarsman (samenstelling en tekst), Vrrooom! Vrrooom!, Rotterdam (NAi Uitgevers/Nederlands fotomuseum) 2003 (met foto’s).

Ad van Denderen (foto’s) en Hans Aarsman e.a. (red.), Go No Go. The frontiers of Europe, Edam (Paradox) 2003.

Anneke Hilhorst (tekst en foto’s) en Hans Aarsman (red.), Nesten. Het leven van jonge gezinnen in beeld, Utrecht etc. (Lifetime) 2003.

Bertien van Manen (foto’s) en Hans Aarsman (tekst), Verdwĳnende vergezichten langs de HSL = Vanishing horizons along the HSL, Amsterdam (Atelier HSL) 2003.

Hans Aarsman, Garry Winogrand: Ruis. Monoloog, in Raster (2003) 102, p. 37-52.

Hans Aarsman, Exposure 13A, in Joyce Goggin e.a. (red.) Scene Shifters. Saskia Janssen, Amsterdam (Artimo/Idea Books) 2004, p. 177-184.

Hans Aarsman (beeld- en tekstred.), De Nederlander realistisch bekeken, Zoetermeer (Reaal Verzekeringen) 2004.

Hans Aarsman, Onzichtbaar Gent. Foto’s en diagrammen van de stad = Invisible Ghent. Photo’s and diagrams of the city = Gand invisible. Photo’s et diagrammes de la ville, Gent (Gent Cultuurstad) 2004.

Hans Aarsman, Op de Augustinusschool, Amsterdam, 1957-1963, in Wilma Kempinga e.a. (red.), SchoolParasites. Nieuwe noodlokalen voor naoorlogs Nederland = Provisional classrooms for primary schools, Rotterdam (WIMBY! Welcome Into My Backyard!) 2004, p. 012-013.

Hans Aarsman e.a. (tekst), Scene shifters. Saskia Janssen, Amsterdam (Artimo) 2004.

Hans Aarsman, Het mysterie rukt op. Over de foto’s van Dirk Braeckman, in Ons Erfdeel 47 (april 2004) 2, p. 182-191.

Hans Aarsman, De Aarsman collectie, in de Volkskrant vanaf 6 mei 2004.

Hans Aarsman, Kindsoldaat, in Jet Manrho (hoofdred.), Zwarte confetti, Rotterdam (Autoped) 2005, p. 15 (serie: Boekie boekie 59).

Corine van den Broek (tekstred.) en Hans Aarsman (beeldred.), De Aarsman collectie [Bundeling fotobesprekingen verschenen van mei 2004 tot mei 2005, in de Kunstbĳlage van de Volkskrant], Rotterdam (NAi uitgevers) 2005.

Coralie Vogelaar, en Hans Aarsman (tekst), The Photoshop, Rotterdam (Veenman) 2005.

Hans Aarsman, De fotojournalist verdwijnt, in Boekman. Tijdschrift voor kunst, cultuur en beleid 17 (zomer 2005) 63, p. 37-38.

Hans Aarsman, Groter dan schilderkunst, in Fonds voor Beeldende Kunsten, Vormgeving en Bouwkunst. Jaarverslag 2005, ongepag.

Hans Aarsman, [Zonder titel], in Jan Andriesse (samenstelling), Kitsch Unedited. Brieven en teksten van vrienden, Tilburg (De Pont, museum van hedendaagse kunst) 2006, p. 5-6.

Hans Aarsman, Mengelmoes, in Martĳn Engelbregt (samenstelling), Dit is Nederland. De dienstcatalogus, Amsterdam (Valiz) 2006, p. 135-136.

Hans Aarsman (tekst en foto’s), Van schrijven word je een minder grote zeikerd, in Jet Manrho (hoofdred.), De film in. Filmfestival voor thuis op de bank, Rotterdam (Autoped) 2006, p. 40-41 (serie: Boekie boekie 61).

Hans Aarsman, Weggooien of weggeven, in Jet Manrho (hoofdred.), Goet-faud: literatuur en kunst voor kinderen, Rotterdam (Autoped) 2006, p. 38-41 (serie: Boekie boekie 63).

Rob van Hoesel (foto’s) en Hans Aarsman (tekst), Transit land. Belgian motorways = Transitoland. Belgische autosnelwegen = Pays-Transit. Autoroutes de Belgique, Rotterdam (Veenman) 2006.

Hans Aarsman, Kaartje voor twee: Museum Smallingerland, in Kastalia (2002) 6, p. 18.

Hans Aarsman en Emo Verkerk, Kaartje voor twee, in Kastalia (2002) 7, p. 68-69.

Hans Aarsman, Te grabbel, in FotoMuseum Magazine 11 (oktober 2006), p. 74.

Hans Aarsman, Kiek Hans Aarsman. ‘De wereld op een podium’, in NRC Handelsblad 6 oktober 2006.

Hans Aarsman, [Zonder titel], in Philippe Terrier-Hermann, 93 Hollandse pracht = Beautés Hollandaises, Rotterdam (Veenman) 2007, p. 44-45.

Hans Aarsman, Dood moet je toch, in Paul Andriesse en Zsa-Zsa Eyck (samenstelling), Fast forward. Monoprints en grafiek van Erik Andriesse, Nijmegen (BnM) 2007, p. 52.

Hans Aarsman, Getut in de doka, in Nienke Denekamp, Edie Peters en Hans Schoonhoven (red.), Dag doka!, Amsterdam (Stichting Photoq) z.j. [2007], p. 24-25 (serie: Photoq jaarboek 2006/2007).

Hans Aarsman, Een groter kapje / Little Red Riding Hoods and Batmen, in Navid Nur en Lisa Aena Vieten (red.), Afterouge, Frankfurt am Main (Revolver. Archiv für Aktuelle Kunst) z.j. [ca. 2007], p. 50-58.

Hans Aarsman, Niemand kan het, in Marian Boyer e.a. (red.), Boekwerk no 2. Platform Theaterauteurs, Amsterdam (International Theatre & Film Books) 2007, p. 212-227.

Hans Aarsman, Nieuws is geen vermaak, in Hans Wammes (eindred.), In tekst. De keuze van: Hans Aarsman … Marga Rotteveel, z.j. [Rotterdam] (nrc.next) 2007, p. 6-7.

Hans Aarsman, Photography as Antidote to Consumerism [portfolio], in FOAM magazine (winter 2007) 13, p. 015, 135-153 (met foto’s).

Hans Aarsman, [Zonder titel], in Erica van de Kerkhof en Joep Lennarts (red.), ’n Bossche Ziel. Bijzondere plekken door de ogen van kinderen, Den Bosch (Theater Artemis) 2008, p. 87.

Hans Aarsman, [Zonder titel], in Jan van der Veer (concept en samenstelling), Art & Leadership, Amsterdam (Nieuw Amsterdam) 2008, p. 110.

Hans Aarsman, Foto’s zonder auto’s, in Jet Manrho (hoofdred.), De auto en wij zijn mooi. Hét autoboek voor kinderen, Rotterdam (Autoped) 2008, p. 14-15 (serie: Boekie boekie 71).

Hans Aarsman, Gevonden woorden, in Maarten Dings e.a., Een foto zegt meer dan 1000 woorden, Gent (Tornado Editions) 2008, p. 12-13.

Hans Aarsman, Grote stappen, in Katja Kreukels e.a (red.), Weg uit Babylon, Amsterdam etc. (Augustus) 2008, p.143-145.

Hans Aarsman, Overzicht = View, in Karel Tomeï, NLXL, Schiedam (Scriptum) 2008, p. 18-19.

Hans Aarsman, Het tweede bordje, in Eric van Straaten, Helden, Vlaardingen (Museum Oostwijk) 2008, ongepag.

Hans Aarsman en Erik Kessels, Het goud van Lopik, z.p. [Lopik] (De Copen) 2008.

Olv Klĳn en Joks Janssen (tekst) en Hans Aarsman (foto’s), 10× Den Bosch. Tien perspectieven op een middelgrote stad, Rotterdam (NAI Uitgevers) 2008.

Hans Aarsman, Kijken op z’n Aarsmans, in Esta (2008) 10, p. 86-91.

Hans Aarsman, Aarsman’s blik, in Esta (2008) 18-26; (2009) 1-10, 12-13, 15-19, 21-26; (2010) 1-15.

Hans Aarsman, Autofocus, in Volkskrant Magazine 17 mei 2008, p. 38-45.

Hans Aarsman, Boeman, in Marian Boyer (red.), Platform Theaterauteurs 2009, Amsterdam (International Theatre & Film Books) 2009, p. 22-35.

Hans Aarsman, From pretty to ugly and back again. Mysterious ways of beauty in photography, in Elise De Bres en Jim Stolze, TEDx: Breakthrough, z.p. (Van Lindonk & De Bres Special Projects) 2009, p 29-32.

Hans Aarsman, Ik zie ik zie. De Aarsman collectie [Selectie van fotobeschrĳvingen eerder verschenen in de kunstbĳlage van de Volkskrant van mei 2005 tot november 2008], Amsterdam (Podium) 2009.

Hans Aarsman, Off the record. Voorstel gemeentelĳke kunstaankopen 2009 = Proposal municipal art acquisitions 2009, Amsterdam (Stedelijk Museum) z.j. [2009].

Theo Audenaerd (samenstelling) en Hans Aarsman (voorw.), Andere ogen. 10 jaar eigenzinnige Nederlandse fotografie, Amsterdam (Meulenhoff) 2009.

H. Aarsman, Enige notities uit de tijd dat ik Antwerpen fotografeerde, in De Witte Raaf (januari/februari 2009) 137, p. 12-13.

Hans Aarsman, [Zonder titel: korte tekst over foto van Guus Dubbelman], in de Volkskrant 30 maart 2009, p. 20.

Hans Aarsman, Eigen vlees en bloed. In beeld slager en zoon, in Volkskrant Magazine 11 april 2009, p. 26.

Hans Aarsman en Martin Bogren, Eindelijk: de zee!, in de Volkskrant 19 december 2009.

Hans Aarsman, De springende rots, in Hans Aarsman (tekst) en Ad van Denderen (foto’s), [zonder titel: uitgave t.g.v. Art Amsterdam 2010], Den Haag (Galerie West) 2010.

Hans Aarsman (tekst en fotoselectie), Het sterke geslacht, in Oog (2010) 1, p. 62-69.

Hans Aarsman en Anna Woltz, Nieuwe Groeten Uit…ansichten voor Nederland, Amsterdam (Nw A’dam) 2010.

Hans Aarsman, Ik word zo vrolijk van dit boek, in Observatorium. Jaarlijkse fotobijlage van de Volkskant 31 december 2010, p. 23.

(foto’s in boeken, tijdschriften en ander drukwerk)

[Verjaardagskalender] Mensen, jarige mensen, Utrecht (mensen van nu i.s.m. Harry Meijer) z.j.

Paul Babeliowsky e.a., Het feest dat Wiegel wilde, Wageningen (De Uytbuyt) 1980, p. 26, 34, 48.

Nieuwe Revu (18 april 1980) 16, p. 20-26, 28, 30.

Nieuwe Revu (16 mei 1980) 20, p. 16.

Nieuwe Revu (24 oktober 1980) 43, p. 64-65.

B. van Dijk en P. van Soomeren (tekst), Vandalisme. Ideeen, onderzoek, preventie, Amsterdam (Kobra) 1981, omslag, p. 4, 6, 23, 66, 86, 95.

Anoniem, Stadsvernieuwing in Amsterdam. Programma 1983/86, Amsterdam (Gemeente Amsterdam. Afdeling Coördinatie Stadsvernieuwing) 1983, p. 70.

Flip ten Cate e.a. (red.), Kruisraketten Ongewenst. Vóór en na 29 oktober 1983, Amersfoort/Amsterdam (Horstink/Mets) 1983.

Bram van Dijk e.a., Vandalisme. Gorinchem (De Ruiter) 1983 (serie: Informatie 519).

Trouw 21 december 1983.

Trouw 7 maart 1984.

Trouw 12 juli 1984.

Trouw 13 juli 1984.

Trouw 14 juli 1984.

Trouw 20 juli 1984.

Trouw 11 augustus 1984

Gerard Klaasen (samenstelling), Aanzien kerk en godsdienst in Nederland en België, 1945-1985, Utrecht/Antwerpen (Het Spectrum) z.j. [1985], p. 120-121, 168-169.

Trouw 1 mei 1985.

Trouw 12 juni 1985.

Trouw 29 juni 1985.

de Volkskrant 28 september 1985.

de Volkskrant 12 oktober 1985.

de Volkskrant 9 november 1985

de Volkskrant 16 november 1985.

Catalogus tent. Foto ’86, Amsterdam (Stichting Amsterdam Foto) 1986, p. 134.

de Volkskrant 15 maart 1986.

de Volkskrant 5 april 1986.

De Groene Amsterdammer 9 april 1986.

Student september 1986, p. 7.

Catalogus tent. Kunst over de vloer. Foto . Video . Installaties. Entrepôtdok Amsterdam 15/27 september 1987, Amsterdam (Stichting Kunst over de Vloer) 1987, p. 29-31, 201.

de Volkskrant 21 februari 1987.

Catalogus tent. Geliefde personen, Plaatwerk 4 (maart 1988) 22/23, p. 12.

Rudy Kousbroek (tekst), 66 Zelfportretten van Nederlandse fotografen, Amsterdam (Nicolaas Henneman Stichting) 1989, afb. 41.

Thea Menema (red.), The youth of the Netherlands. A sketch, Leiden (Stichting voor het Kind. Stichting Kinderpostzegels Nederland) 1989, p. 58, 86-87.

H. d’Ancona en J.G.M. Aalders (voorw.), Ruimte voor architectuur. Nota architectuurbeleid, Den Haag (SDU) 1991, p. 140-141.

Catalogus tent. Dieren, dood en levend, Oss/Deurne (Gemeentelijk Museum Jan Cunen/Museum de Wieger) 1993, p. 14.

Catalogus tent. Morgen gemaakt. Kunstenaars en fotografie in het huidige ‘fin de siecle’, zomer 1993, Amsterdam (Arti et Amicitiae) 1993, z.p.

Eddie Marsman e.a, Ergens, thuis, Groningen (Stichting Fotografie Noorderlicht) 1993, p. 12-13.

Forum. Maandblad voor architectuur en gebonden kunsten 37 (1993) 1, p. 40-41.

Frans Bosman, Aarsmans persoonlijke prenten van Amsterdam, in Het Parool 5 mei 1993.

Bert Ockers (samenstelling), Leven in Nederland. Twintig jaar fotografie in opdracht, Arnhem (Nederlands Openluchtmuseum) 1994, p. 31, 35-35.

Taco Anema e.a. (red.), 50 Jaren fotografie. GKf 1945-1995, Amsterdam (De Verbeelding) 1995, p. 150-151, 196, 198.

Catalogus tent. Foto’s voor de stad. Amsterdamse documentaire foto-opdrachten 1992-1994, Amsterdam (Gemeentearchief) 1995, p. 7.

Hans Stoovelaar (samenstelling), Doorvaart gestremd. Honderd jaar Amsterdamse bruggen in het nieuws, Amsterdam (Amsterdam Publishers) 1995, p. 55.

Leo Adriaenssen, Een dwarse buurt. Het herscheppingsverhaal van de Staatsliedenbuurt en Frederik Hendrikbuurt in 1971-1996, Amsterdam (Wĳkcentrum Staatslieden-Hugo de Grootbuurt) 1996, p. 23.

Catalogus tent. Fotodiffusione ’96 – Olanda. Mostra e incontri dedicati alla fotografia in Olanda, z.p. [Turijn] (Fondazione Italiana per la Fotografia) 1996, p. 26.

Siebe Swart, Panorama van Amsterdam, Amsterdam (De Verbeelding) 1996, omslag (achterzijde).

Jaarverslag 1996 Prins Bernhard Fonds en Anjerfondsen, omslag, na p. 8, na p. 16, na p. 24, na p. 28, na p. 40, na p. 44, na p. 60.

Catalogus tent. Another & Another & Another Act of Seeing (Urban Space), Antwerpen (Desingel International Arts Centre) 1997, p. 38-43.

Catalogus tent. Bilder. Nr. 136, Austauschausstellung. Fotogalerie Wien – Galerie Fotomania/Rotterdam, [etc.], Wien (Verein zur Förderung Künstlerischer Fotografie) 1997, ongepag.

Ian Jeffrey, The photography book, Londen (Phaidon) 1997, p. 4 (idem Nederlandse ed.: Het fotoboek, Bussum (THOTH) 2000).

Bas Vroege, Deanna Herst en Hanrik Barends (samenstelling), Groningen A-Z in foto’s, Edam (Paradox) 1997, ongepag.

De Revisor (1999) 6, omslag, p. 4, 22, 73.

Carel Kuitenbrouwer (hoofdred.), The Dublin Statement on the Process of Strengthening of the United Nations Human Rights Treaty Body System, Eindhoven (Lecturis) 2000, p. 3, 10-11, 16, 19, 40, 42 (serie: Lecturis 26)

Loek van der Molen, Plaatwerk 1983-1989, in Frits Gierstberg (red.), Positions, attitudes, actions. Engagement in de fotografie = Social and political commitment in photography, Rotterdam (Nederlands Foto Instituut) 2000, p. 277-289.

Veilingcatalogus Dutch photography 1900-2000, maandag 27 november 2000, Amsterdam (Glerum Auctioneers) 2000, lot 188-189.

Catalogus tent. Fra de hollandske lavlande. Virkelighed og kunst, 1960-2001 = From the low countries. Reality and art, 1960-2001, Kopenhagen (Udstillingsbygningen ved Charlottenborg) 2001, p. 68-73.

Patricia van der Lugt en Kim Thehu (eindred.), Waarschĳnlĳk. Moments which I intend to remember, z.p. [Heerlen] (Stadsgalerij Heerlen) 2001, ongepag.

NRC Handelsblad 22 maart 2002.

Jurriaan van Kranendonk (red.), First focus. De collectie fotografie van de Haagse Hogeshool, z.p. (Dienst Communicatie & Marketing van de Haagse Hogeschool) 2005, p. 25, 30-31.

Oase. Tijdschrift voor architectuur (2005) 67, p. 65-79.

Eisse Kalk, Bouwmeesters met draagvlak. Architectenbureau Van Stigt, Amsterdam (Stichting Agora Europa) z.j. [2006], p. 101.

Daniel Koning en Bernd Wouthuysen (samenstelling), Teder, z.p. [Amsterdam] (Lubberhuizen), 2006, ongepag.

Catalogus tent. Local, el fin de la globalización, Madrid (Comunidad de Madrid, Consejería de Cultura y Deportes) 2007, p. 49-53.

AD/Groene Hart 6 april 2009.

Assignments

1982 Rijksmuseum Amsterdam, afdeling Nederlandse Geschiedenis (opdracht samen met Oscar van Alphen en Harry Meijer: Kerk in verandering).

1984 Amsterdams Fonds voor de Kunst (Openbare rituelen).

1986 Ministerie van WVC (opdracht samen met Marrie Bot en Jannes Linders: toneel- en operagezelschappen tijdens Holland Festival 1986).

1987 Stichting Kunst over de Vloer, Amsterdam (opdracht samen met 36 andere kunstenaars: Kunsttoepassingen in woon- en werkruimtes van het Entrepôtdok).

1989 Prins Bernhard Fonds (opdracht samen met Teun Hocks, Jannes Linders, Paul de Nooijer, Erwin Olaf, Laura Samsom-Rous, Henk Tas en Hannes Wallrafen: De subsidiesectoren van het fonds).

1990 Technische Universiteit Eindhoven (Stadslandschappen in Oost-Duitsland).

1991 Van Weel-Bethesda Ziekenhuis, Dirksland (opdracht samen met Marrie Bot: Kunsttoepassingen voor het interieur van het ziekenhuis).

1993 Antwerpen Culturele Hoofdstad van Europa (opdracht n.a.v. Antwerpen 93. Culturele Hoofdstad van Europa).

1993 Rotterdamse Kunstsstichting i.k.v. AIR-Alexander (opdracht samen met andere fotografen, architecten, filmers en schrijvers: De Alexanderpolder, waar de stad verder gaat).

2002 SKOR (opdracht om voor het Christelijk sanatorium Den Eik te Zeist een kunstwerk te ontwerpen).

2002 Stichting Stedelijke Fotografie Utrecht (SFU) (opdracht samen met Andrea Stultiens: thema 365 jaar Universiteit Utrecht in beeld).

2003 STAM (toekomstige stadsmuseum) (Onzichtbaar Gent).

Secondary bibliography

Bas Roodnat, Gelovig Nederland in honderd foto’s. Rijksmuseum laat vaderlandse geschiedenis met de camera bijhouden, in NRC Handelsblad 6 januari 1984.

LK, Kerk in verandering, in Perspektief (juli/september 1984) 17, p. 46-47.

M.S., Hans Aarsman, in de Volkskrant 5 april 1986.

Anoniem, Openbare rituelen, in De Groene Amsterdammer 9 april 1986.

Anneke van Veen e.a. (tekst), Foto’s voor de stad. Amsterdamse documentaire foto-opdrachten 1983-1985, in Fodor. Tweemaandelijks tijdschrift voor beeldende kunst in Amsterdam 5 (mei/juni 1986) 3, p. 3-4.

Mariëtte Haveman, Reportagefotografie: het belang van de stad (1985), in Fodor. Tweemaandelijks tijdschrift voor beeldende kunst in Amsterdam 5 (mei/juni 1986) 3, p. 5-10, 12-13 (met foto’s).

Anoniem, Biografieën, in Fodor. Tweemaandelijks tijdschrift voor beeldende kunst in Amsterdam 5 (mei/juni 1986) 3, p. 42.

Willem Ellenbroek, Amsterdam in vijftien beeldverhalen. Gemeentearchief laat foto-opdrachten zien, in de Volkskrant 1 mei 1986.

Ton Hendriks en Josephine van Bennekom, The Limits of Freedom. Photographers’ experiences with documentary commissions = De beperkingen van de vrijheid. Ervaringen van fotografen met documentaire opdrachten, in Perspektief (1987) 28/29, p. 18-23.

Catalogus Fototentoonstelling Holland Festival, in Foto (juni 1987) 6, bijlage, ongepag. (met foto’s).

Hripsimé Visser, Documentaire en monumentale foto-opdrachten in Nederland na 1945, in Perspektief (juni 1987) 28/29, p. 115-121.

Josephine van Bennekom, Fotografie, in De Groene Amsterdammer 17 juni 1987.

Arend Evenhuis, Ik wil geen mensen meer. Fotograaf Hans Aarsman en de sprong naar grootbeeld, in Trouw 3 augustus 1987.

Eddie Marsman, Hollandse taferelen. Hans Aarsman. “Nostalgie is haat tegen je eigen tijd”, in Foto 43 (maart 1988) 3, p. 24-33 (met foto’s).

Ellen Kok, Een fotografische Odyssee, in NRC Handelsblad 12 september 1988.

Willem Ellenbroek, Een zigeuner-fotograaf met een panoramische blik op het land, in de Volkskrant 20 december 1988.

Catalogus Foto Biennale Enschede 1989. Engelse en Nederlandse fotografie, Enschede (Stichting Foto Biennale Enschede) 1989, p. 38-39, 60.

Wim Jansen en Arjen Ribbens, Wat overblijft is het gefotografeerde, in Trouw 28 januari 1989.

Anoniem, Reisfoto’s, vrouwen en kunst, sensogrammen, in Dagblad Tubantia 16 maart 1989.

Ton Hendriks, Hollandse taferelen. De zwerftocht van Hans Aarsman = Dutch scenes. Hans Aarsman’s trip across Holland, in Perspektief (juli/augustus/september 1989) 36, p. 24-33 (met foto’s).

Hans Steketee, Het raadsel van de bollenvelden. Hans Aarsman fotografeert Nederland, in NRC Handelsblad 1 september 1989, Supplement, p. 9.

Frits Baarda, Hans Aarsman ziet wat andere fotografen niet willen zien, in Het Vrije Volk 14 september 1989.

Catalogus tent. Oppositions. Commitment and cultural identity in contemporary photography from Japan, Canada, Brazil, The Soviet Union and The Netherlands, Rotterdam (Uitgeverij 010) 1990, p. 45, 52-54, 140 (met foto’s).

Lisette Pelsers, Hans Aarsman ongeslepen diamant onder fotografen, in Twentse Courant 18 april 1990.

Margot Engelen, Literatuur tegen fotografie. Raster 49/1990, in NRC Handelsblad 5 juni 1990.

Vera Illés, Hans Aarsman. Fotografie Biënnale Rotterdam, in Elsevier 46 (25 augustus 1990) 34, p. 95-97 (met foto’s).

Catalogus Fotofestival Naarden 18 mei t/m 9 juni 1991, Bilthoven (Stichting Fotofestival Naarden) 1991, p. 28-29, 64.

Nederlandse Kunst Rijksaankopen 1990, Den Haag (Rijksdienst Beeldende Kunst) 1991, p. 46-47.

Linda Roodenburg, Hans Aarsman, in Andreas Müller-Pohle (red.), European Photography Award 1991, Gottingen (European Photography) 1991, p. 8-11.

Hans Steketee, Verzet tegen het instinctief mooie foto’s maken, in NRC Handelsblad 12 januari 1991.

Anoniem, Colpaert, Aarsman, De Forest, in Arnhemse Courant 1 maart 1991.

Marianne Vermeijden, Het uitstel van de herkenning. Hans Aarsman fotografeerde het alledaagse in straten van Oost-Duitsland, in NRC Handelsblad 4 april 1991.

Anoniem, Fotofestival Naarden 18 mei-9 juni, in Focus (mei 1991) 5, p. 3, 28-29.

Linda Roodenburg, East Germany. Hans Aarsman, in Perspektief (mei 1991) 41, p. 52-57, 86 (met foto’s).

Maartje van den Heuvel en Anneke van Veen (samenstelling), Foto’s voor de stad. Amsterdamse documentaire foto-opdrachten 1972-1991 / Leontine Coelewij, Haro Plantenga en Anneke van Veen (samenstelling), Foto’s voor de stad. Amsterdamse documentaire foto-opdrachten 1989-1991, Amsterdam (Gemeentearchief Amsterdam) 1992, ongepag.

Linda Roodenburg, Fotowerk. Fotografie in opdracht 1986-1992, Rotterdam (Uitgeverij 010) 1992, p. 19, 26, 28, 33, 43, 56, 106-109, 135, 144, 149, 155, 158, 162.

Rianne van Dijck, Hripsimé Visser. Interview, in Foto 47 (maart 1992) 3, p. 30-33.

Daniel Koning en Willem Kuipers, Foto’s zonder standpunt, zonder keuze, in de Volkskrant 14 maart 1992.

Jan Van Broeckhoven (coördinatie), Antwerpen 93. Een stad gefotografeerd = A city in photographs, Wommelgem (Blondé) 1993, p. 99-127, 163 (met foto’s).

Iris Dik (red.), Ver = Hier. Uit de collectie van het Nederlands Fotomuseum, Sittard, Sittard (Nederlands Fotomuseum) 1993, p. 10-11, 29.

Paul Groot, Het fin de siecle, van een negentiende eeuwse pathologie maar een twintigste eeuws archetypisch deja-vu, in Margriet Kruyver e.a., Morgen gemaakt. Kunstenaars en fotografie in het huidige ‘fin de siecle’, zomer 1993, Amsterdam (Arti et Amicitiae) 1993, ongepag.

Nederlandse Kunst Rijksaankopen 1992, Den Haag (Rijksdienst Beeldende Kunst) 1993, p. 44-45.

Betty van Garrel, Ik heb een plastic zak gezien. Amsterdamse foto’s van Aarsman, in NRC Handelsblad 16 april 1993.

Willem Ellenbroek, In Aarsman’s Amsterdam is geen vuiltje aan de lucht, in de Volkskrant 23 april 1993, Kunst & Cultuur, p. 3.

Johan de Vos, Nogal onfatsoenlijk maar zeker verleidelijk. Over de onvergetelijke foto’s, Amsterdam/Leuven (Mets/Kritak) 1994, p. 156-157.

Anoniem, Hans Aarsman hangt camera aan de wilgen, in de Volkskrant 18 februari 1994.

Peter Sierksma, ‘Het is heel simpel: ik ben uitgegoocheld met symbolen’, in Trouw 1 april 1994.

Ton Hendriks, Beeldspraak. Fotografie als visuele communicatie, Amsterdam (Focus) 1995, p. 94.

Hans Goedkoop, Als een afgeschreven satelliet. Oesterachtig debuut van Hans Aarsman, in NRC Handelsblad 31 maart 1995.

Eddie Marsman, Honderd kiekjes uit het dagelijks leven, in NRC Handelsblad 10 juni 1995.

Anoniem, Noorderlicht, in Nieuwsblad van het Noorden 20 oktober 1995.

Gerard Berends, Door reiskoorts bevangen. Tocht door Groningen, Overijssel en Azië levert inspiratie op, in Drentse Courant 1 december 1995.

Jan Koekebakker (eindred.), Werk. De Randstad fotocollectie 1988-1995 = Work. The Randstad Collection of Photographs 1988-1995, Amsterdam (Randstad Holding) 1996, p. 14-15, 86, 114.

Hripsimé Visser (red.), 100 x Foto. 100 Foto’s uit de collectie van het Stedelijk Museum Amsterdam, Amsterdam (Stedelijk Museum Amsterdam) 1996, p. 202, 204-205.

Eddie Marsman, Boeken, in NRC Handelsblad 24 februari 1996.

Noor Hellmann, Een suppoost beziet de wereld als een fotograaf, in NRC Handelsblad 6 maart 1996.

Jop van Bennekom, To close to comfort, in Paul Hefting en Karel Martens (red.), View to the future, Maastricht (Jan van Eyck Academie) 1997, p. 87-104.

Hripsimé Visser, The magic of realism, in Annette W. Balkema en Henk Slager (red.), The photographic paradigm, Amsterdam etc. (Rodopi) 1997, p. 166, 168 (serie: Lier en Boog. Series of philosophy of art and art theory 12).

Anoniem, Bestel nu: Unieke postkaarten, in Prins Bernhard Fonds en Anjerfondsen herst 1997, ongepag.

Linda Roodenburg (samenstelling), PhotoWork(s) in progress II/Constructing identity, Gent/Rotterdam (Snoeck-Ducaju/Nederlands Foto Instituut) 1999, p. 10, 13-45, 111 (met foto’s).

Martijn van Niewenhuizen en Hripsime Visser (red.), For Real, Voorstel Gemeentelijke Kunstaankopen 1999-2000, Amsterdam/Rotterdam (Stedelijk Museum/NAi Uitgevers) 2000, p. 8-9, 64, 72-75, 120 (met foto’s).

Mirelle Thijsen, Humanistische fotografie en het geluk van de alledaagsheid. Het Nederlandse bedrijfsfotoboek 1945-1965, Utrecht (Universiteit Utrecht) 2000 (Proefschrift Universiteit Utrecht).

Veilingcatalogus Modern and Contemporary Art Including Photographs, woensdag 6 december 2000, Amsterdam (Sotheby’s) 2000, lot 502.

Paul Arnoldussen, Olie & Aarsman, in Het Parool 29 januari 2000, PS van de Week, p. 48-55.

Martin Schouten, Eigenwijs in het kwadraat, in de Volkskrant 14 juni 2000.

Inge Henneman e.a., Het archief van de verbeelding, Antwerpen (FotoMuseum Provincie Antwerpen/Mercatorfonds) 2002, p. 105, 123.

Wim van Sinderen, Fotografen in Nederland. Een anthologie 1852-2002, Amsterdam/Gent/Den Haag (Ludion/Fotomuseum Den Haag) 2002, p. 18-19.

Mirelle Thijsen, Het bedrijfsfotoboek 1945-1965. Professionalisering van fotografen in Nederland, Rotterdam (Uitgeverij 010) 2002, p. 196, 208-209 (met foto’s).

Frederike Huygen, Foto’s zonder stijl of handschrift, in Het Financieele Dagblad 2 augustus 2003.

Arnoud Holleman, Making Ghent visible, in Open. Cahier on art and the public domain (2004) 7, p. 188.

Bert Danckaert, Gent gezien door een Nederlandse fotograaf. Hans Aarsman ontdekt bizarre charmes van een Vlaamse stad, in De Tijd 2 april 2004.

Merel Bem, Liefdevolle objectiviteit, in de Volkskrant 22 september 2004.

Jet Baruch e.a., Document Nederland. Nederland gefotografeerd 1975-2005, Zwolle (Uitgeverij Waanders bv.) 2005, p. 147-153, 450 (met foto’s).

Catalogus tent. In sight. Contemporary Dutch photography from the collection of the Stedelijk Museum, Amsterdam, Amsterdam (Stedelijk Museum) 2005, p. 13-14, 22-29 (met foto’s).

Sandra Smallenburg, Hans Aarsman: ‘Alsof je gewoon door een raam kijkt’, in NRC Handelsblad Magazine juli 2005, p. 66-67.

Gijsbert van der Wal, Aarsman ziet ten minste zeven waarheden, in NRC Handelsblad 4 november 2005.

Frits Gierstberg (red.), Dutch dare. Comtemperary photography from the Netherlands, Rotterdam (NAi Publishers) 2006, p. 24.

Govert Grosfeld, Koekje erbij, Kop en schotels van Hans Aarsman in het Christelijke Sanatorium Den Eik in Zeist, in Liesbeth Melis (red.), Kunst als Medicijn / Volksgezondheid, Amsterdam (SKOR) 2006, p. 49-50 (serie: SKOR kunstprojecten deel 2).

Martin Parr en Gerry Badger, The Photobook. A History volume II, Londen/ New York (Phaidon Press) 2006, p. 58, 68, 72, 209, 232-233.

Harmen Bockma, Aarsman geeft foto’s weg via internet, in de Volkskrant 2 mei 2006.

Nora Sinnema, Gratis foto’s van Hans Aarsman op internet, in Brabants Dagblad 3 mei 2006.

Machteld van Hulten, Moeten fotografen hun foto’s gratis aanbieden via internet?, in de Volkskrant 3 mei 2006.

Herien Wensink, Is een printje van een foto kunst?, in NRC Handelsblad 5 mei 2006, p. 14.

Erik Eelbode, Verwante disciplines, in FotoMuseum Magazine 11 (oktober 2006), p. 102-103.

Anoniem, Kasteel voor Vrije Woord wint wedstrijd, in NRC Handelsblad 20 oktober 2006.

Flip Bool e.a. (red.), Nieuwe geschiedenis van de fotografie in Nederland. Dutch Eyes, Zwolle (Waanders i.s.m. Stichting Fotografie in Nederland) 2007, p. 27, 223-224, 226, 234, 236, 248-250, 256, 285, 378, 405, 420, 446-447, 449, 503, 506, 520 (met foto’s) (idem Engelse editie: A critical history of photography in the Netherlands. Dutch Eyes).

Anoniem, Hans Aarsman: Vrrooom! Vrrooom!, in NRC Handelsblad 2 februari 2007.

Hanne Reus, Een 8 voor fotografie, in Het Parool 27 november 2007, p. 14.

Anoniem, Hans Aarsman’s images free of charge, in FOAM magazine (winter 2007) 13, p.154.

Flip Bool, Duitsland sinds 1945 door het oog van Nederlandse fotografen, Breda (Avans Hogeschool) 2008, p. 55-57.

Maartje van den Heuvel en Tracy Metz, Nature as artifice. New Dutch landscape in photography and video art, Rotterdam (NAi Publishers) 2008, p. 15-18, 20-33, 284 (met foto’s).

Maarten Dings, Joachim Naudts en Egon Herreweghe, Interview: Hans Arasman. No photo is larger than life, in Extra [tijdschrift van FotoMuseum Antwerpen] (2008) 2, p. 72-77.

Anoniem, Liever een foto van een expressoapparaat dan een kopje koffie, in NCR Handelsblad 19 juli 2008.

Vincent Kouters, Carly Wijs is ideale vertolkster van monoloog Hans Aarsman, in de Volkskrant 18 september 2008.

Anoniem, Hans Aarsman. Niemand kan het, in Kunstkalender oktober 2008, p. 15.

Hripsimé Visser en Rik Suermondt, Fotografie in het Stedelijk. De geschiedenis van een collectie, Amsterdam/Rotterdam (Stedelijk Museum Amsterdam/NAi Uitgevers) 2009, p. 215, 265-266, 270, 284, 287, 291.

Mart Moorman, Interview Hans Aarsman. ‘Er komen per week 20.000 foto’s langs bij de redacties’, in Het Parool 18 maart 2009, PS, p. 99.

Jan Tromp, Schijnheilige fotografie. Interview Hans Aarsman, schrijver over foto’s, in de Volkskrant 21 maart 2009, Het Vervolg, p. 34-35.

Jeroen Vullings, ‘Dit is een foto’. De Aarsman collectie, in Vrij Nederland 18 april 2009, p. 61.

Stefan Kuiper, “Ik wil de fotografie opengooien”. Interview met Hans Aarsman, in De Groene Amsterdammer 133 (29 april 2009) 18.

Ronald Ockhuysen, Profiel kunstfotografie. ‘Vijf beelden maken, dat is schilderij spelen’, in Het Parool 6 mei 2009, PS, p. 7.

Mischa Cohen, De verbazing wint. Fotodocument Aarsman kiest foto’s, in Vrij Nederland 9 mei 2009, p. 46.

Merel Bem, Foto’s voor de lol, in de Volkskrant 14 mei 2009, Kunst, p. 24-25.

Sandra Smallenburg, Stedelijk Museum koopt foto’s van amateurs, in NRC Handelsblad 15 mei 2009, p. 1.

Sarah Saarberg, Hans Aarsman ziet wat jij niet ziet, in Topics juni 2009, p. 26-27.

Jan Hertoghs, Pleidooi voor rode oogjes. Hans Aarsman haat mooie foto’s, in Humo (16 juni 2009) 25, p. 140-145.

Rosan Hollak, Groeten uit Tilburg. Hans Aarsman en Ria van Dijk over amateurfotografie en kunst, in NRC Handelsblad 19 juni 2009, Cultureel Supplement, p. 4-5.

Rosan Hollak, 73 jaar in de roos. Amateurschietfoto’s in serie over onbevangenheid, in NRC Handelsblad 23 juni 2009.

Rosan Holla, Groeten uit Tilburg. Hans Aarsman en Ria van Dijk over amateurfotografie en kunst, in NRC Handelsblad 23 juni 2009, Cultureel Supplement, p. 4-5.

Anoniem, Tien gezichten van Den Bosch op Dag van de Architectuur, in Brabants Dagblad 24 juni 2009.

Geert Sels, De camera richten en pats erop, in De Standaard 25 september 2009.

Arno Haijtema, Klikklak-verlangen. Tijdschrift Useful photography, in de Volkskrant 25 september 2009.

Anoniem, Er valt veel te lachen om heel veel herkenbaars, in Provinciale Zeeuwse Courant 26 oktober 2009.

Anoniem, Hoofdprijs voor gerecyclede Spaanse vis, in De Gooi- en Eemlander 27 oktober 2009.

Hans den Hartog Jager, Alles behalve gelikt. Jonge fotografen geven fotografie een nieuw gezicht, in NRC Handelsblad 9 april 2010, Cultureel Supplement.

Rosan Hollak, Willem van Hanegem, oprechte amateur? Over fotografie, in NRC Handelsblad 30 april 2010.

Memberships

GKf 1982-1986.

Jury The Photo Academy Award 2009, een internationale fotocompetitie voor laatstejaars studenten en net afgestudeerde fotografen van alle Nederlandse en Vlaamse academies.

Jury fotowedstrijd met als thema ‘Een betere wereld begint heel dichtbij’, uitgeschreven door de Triodos Bank, 2009.

Jury Kleine Hans, ‘de fotoprijs voor niet-pretentieuze fotografie’, samen met Hans van der Meer, Hans Eijkelboom, Hans Samsom en Hans Wolf, 2007-2009.

Awards

1968 Eerste prijs, zomerfotowedstrijd Na Vijfen.

1993 Maria Austria Prijs.

2009 Best verzorgde boeken 2008, uitgaven Special Interest (voor Useful Photography #008).

Exhibitions

1977 (e) Amsterdam, Galerie de Fotovriend, Liftend door Europa.

1982 (e) Amsterdam, Galerie Interactie, Ouders op bezoek.

1983/1984 (g) Amsterdam, Rijksmuseum, Kerk in verandering.

1985 (e) Amsterdam, De Moor, Public Relations.

1986 (e) Amsterdam, Hollandse Hoogte, Openbare rituelen.

1986 (g) Amsterdam, Museum Fodor, Foto’s voor de stad. Documentaire foto-opdrachten 1983-1985 (Foto ’86).

1986 (e) Berlijn, Galerie im Wedding.

1987 (g) Aalsmeer, Oude Raadhuis, Hans Aarsman Stadsbomen, Theo Baart Pays de Bray, André-P Lamoth Ecce.

1987 (g) Amsterdam, Entrepôtdok, Kunst over de vloer.

1987 (g) Amsterdam, Hollandse Hoogte, Zwart/wit [foto-tentoonstelling i.k.v. van de manifestatie Culture in Another South Africa (CASA)].

1987 (g) Amsterdam, Stopera, Ons publiek (Holland Festival).

1987/1988 (g) Aalsmeer, Oude Raadhuis, [Hans Aarsman – Stadsbomen, Theo Baart – Pays de Bray, André-P. Lamoth – Ecce].

1988 (g) Amsterdam, Stedelijk Museum, Geliefde Personen. Foto’s van de GKf. Beroepsvereniging van fotografen.

1988/1989 (e) Amsterdam, Stedelijke Museum, Hollandse taferelen.

1989 (g) Amsterdam, De Moor, Mijn belangrijkste foto van 1989.

1989 (g) Enschede, Rijksmuseum Twenthe, Derde Fotobiennale Enschede.

1989 (g) Groningen, USVA Galerie, Origineel in kleur [Hans Aarsman, Taco Anema en Hannes Wallrafen].

1989 (e) Nordhorn, Städtische Galerie Nordhorn, Der Landstreicher hat eine Kamera [De landloper heeft een camera].

1990 (e) Amsterdam, Lascaux Galerie, Hans Aarsman.

1990 (e) Enschede, Fotogalerie Objektief, Hans Aarsman.

1990 (g) Rotterdam, Voormalig hoofdkantoor Holland Amerika Lijn, Oppositions. Commitment and cultural identity in contemporary photography from Japan, Canada, Brazil, The Soviet Union and the Netherlands (Fotografie Biënnale Rotterdam II).

1991 (g) Amsterdam, RAI, Repositioning documentary (KunstRAI 91).

1991 (g) Arnhem, Galerie Steven Lingbeek, Erik Colpaert, Hans Aarsman, Kevin de Forest.

1991 (e) Eindhoven, Technische Universiteit, [daarna reizend door Duitsland en Oostenrijk].

1991 (e) Naarden, [half op de oever, half in het water van de vestinggrachten], Monument voor de onmogelijke liefde (Fotofestival Naarden).

1991 (e) Naarden, Stadhuiszolder, Hans Aarsman (Fotofestival Naarden).

1992 (g) Amsterdam, Beurs van Berlage, Fotowerk, fotografie in opdracht 1986-1992.

1992 (g) Amsterdam, De Moor, Mijn belangrijkste foto van 1991.

1992 (g) Amsterdam, Museum Fodor, Foto’s voor de stad. Amsterdamse documentaire foto-opdrachten 1972-1991.

1993 (g) Amsterdam, Arti et Amicitiae, Morgen gemaakt.

1993 (g) Antwerpen, Museum voor Fotografie, Antwerpen 93: Een stad gefotografeerd / a city in photographs.

1993 (g) Groningen, Der Aa-kerk, Home/Thuis (fotomanifestatie Noorderlicht).

1993 (g) Rotterdam, Galerie Fotomania, 15x recent werk.

1993 (g) Rotterdam, Kunsthal, [tentoonstelling van resultaten van de opdrachten verleend door de Rotterdamse Kunststichting i.k.v. AIR-Alexander].

1993/1994 (e) Amsterdam, Stedelijk Museum, Hans Aarsman: Maria Austriaprijs 1993.

1993/1994 (g) Sittard, Nederlands Fotomuseum, Ver = Hier.

1994 (g) Amsterdam, Beurs van Berlage, Ik en de ander.

1994 (g) Arnhem, Nederlands Openluchtmuseum, Leven in Nederland. Twintig jaar fotografie in opdracht.

1995 (g) Amsterdam, Gemeentearchief Amsterdam, Foto’s voor de stad. Amsterdamse documentaire foto-opdrachten 1992-1994.

1995 (g) Antwerpen, Provinciaal Museum voor Fotografie, Nogal onfatsoenlijk, maar zeker verleidelijk.

1995 (e) Groningen, Centrum voor Architectuur en Stedebouw, Wereldreiziger 1 t/m 12. Observaties van Hans Aarsman.

1995 (g) Rotterdam, Galerie Fotomania, De Concurrenten [Henze Boekhout, Hans Aarsman en Wout Berger].

1995 (g) Rotterdam, Nederlands Foto Instituut, Lichtjaren. 50 Jaar GKf-fotografie.

1995 (g) Rotterdam, Nederlands Foto Instituut, Nogal onfatsoenlijk, maar zeker verleidelijk.

1996 (g) Amsterdam, Stedelijk Museum, 100 Foto’s uit de collectie / 100 Photographs from the collection.

1996/1997 (g) Amsterdam, De Balie, Circumstantial Evidence [Henze Boekhout, Hans Aarsman en Wout Berger].

1997 (g) Antwerpen, Desingel International Arts Centre, Another & Another & Another Act of Seeing (Urban Space).

1997 (g) Wenen, Fotogalerie Wien, [Bilder. Nr. 136, Austauschausstellung. Fotogalerie Wien – Galerie Fotomania/Rotterdam]

1998 (g) Den Dolder, Het Vijfde Seizoen, [expositie n.a.v. opening van kunstenaarsverblijf Het Vijfde Seizoen].

1999 (g) Amsterdam, Stedelijk Museum, Shifting views: foto’s uit de collectie.

2000 (g) Amsterdam, Amsterdams Historisch Museum, Stadsfietsen.

2000 (g) Amsterdam, Stedelijk Museum, For Real.

2000 (g) Parijs, Paris Photo [presentatie Galerie Van Kranendonk].

2000 (g) Rotterdam, MKgalerie, Van/voor.

2000 (g) Rotterdam, Nederlands Foto Instituut, België-Holland, Holland-België. Voetbal in de Lage Landen].

2000 (g) Slootdorp, Galerie Art & Project, ‘De verloren zoon en zijn meereizende vriend’ [Hans Aarsman en Emo Verkerk].

2001 (g) Amsterdam, Huis Marseille, Fotografie uit de KPN collectie.

2001 (g) Den Haag, Galerie Van Kranendonk, Intimate spaces. Foto’s van: Hans Aarsman, Wout Berger, Nick Bick, Wijnanda Deroo, Bertien van Manen, Uli Martens, Maarten Wetsema.

2001/2002 (g) Heerlen, Stadsgalerĳ Heerlen, Waar/schĳn/lĳk. Moments which I intend to remember.

2002 (g) Parijs, Paris Photo 2002 [presentatie Galerie Van Kranendonk].

2002 (g) Rotterdam, Nederlands Fotomuseum, Nabeelden, een tentoonstelling over fotografie zonder foto’s.

2002 (g) Schiedam, Stedelijk Museum Schiedam, De Grote Hoop: Nederlandse kunst 1960-2001.

2002 (g) Utrecht, Universiteitsmuseum Utrecht, “Op zoek naar de werkelijkheid”[Andrea Stultiens en Hans Aarsman].

2002/2003 (g) Den Haag, Fotomuseum Den Haag, Fotografen in Nederland 1852-2002.

2003 (g) Amsterdam, Galerie Ferdinand van Dieten, Verhoogde aandacht.

2003 (g) Den Haag, Fotomuseum Den Haag, Mortalis. Het beeld van de dood in de fotografie.

2003 (e) Den Haag, Galerie Van Kranendonk, “Vooral Vrouwen”.

2003 (g) Heerlen, Stadsgalerij Heerlen, Nabeelden, een tentoonstelling over fotografie zonder foto’s.

2003 (g) Oss, Museum Jan Cunen, Van Andriesse tot De Zwart. Werk op papier uit de collectie.

2003 (g) Rotterdam, Nederlands Fotomuseum, Vrrooom! Vrrooom! [expositie samengesteld uit collectie Hans Aarsman, incl. foto’s van hemzelf].

2003 (g) Rotterdam, Rotterdam Cruise Terminal, Art Rotterdam 2003 [presentatie Galerie Van Kranendonk: Hans Aarsman, Wout Berger en Noor Damen].

2004 (g) Amsterdam, Amsterdams Centrum voor Fotografie, Roots. Wij blijven hier.

2004 (e) Gent, Bijlokemuseum, Onzichtbaar Gent.

2005 (g) Chicago, The Art Institute of Chicago, In Sight. Contemporary Dutch Photography from the Collection of the Stedelijk Museum, Amsterdam.

2005 (g) Rotterdam, Nederlands Fotomuseum, Foto’s uit de polder .

2006 (e) Birmingham, International Project Space. Bournville Centre for the Visual Arts, Useful Birmingham.

2007 (e) Groningen, NP3-tentoonstellingsruimte [Hofstraat 21], FOT_OS.

2007 (g) Madrid, Canal de Isabel II. Sala de Exposiciones, Local. El fin de la globalización.

2008 (g) Gent, De Zaal, Een foto zegt meer dan 1000 woorden.

2008 (e) Londen, The Photographers’ Gallery, Photography against consumerism.

2008 (g) Otterlo, Kröller-Müller Museum, Nature as Artifice. Nieuw Nederlands landschap in fotografie en videokunst [reizende tentoonstelling 2008/2009 (g) München, Neue Pinakothek, Nature as Artifice – Natur als Kunstgriff; 2009 Rochester, George Eastman House, Nature as Artifice. New Dutch Landscape in Photography and Video Art; New York, Aperture Gallery]

2009 (g) Den Bosch, Stadskantoor aan de Wolvenhoek, 10x Den Bosch (Dag van de Architectuur).

2010 (g) Sjanghai, World Expo 2010.

Exhibitions assembled by Hans Aarsman

2005 (e) Rotterdam, Nederlands Fotomuseum, De Aarsman Collectie.

2008 (g) Amsterdam, Vlaams Cultuurhuis De Brakke Grond, Niemand kan het.

2008 (g) Haarlem, Galerie 37 Spaarnestad, Er is er één jarig: Anneke Hilhorst/Spaarnestad selectie door Hans Aarsman.

2009 (g) Amsterdam, RAI, Off the Record. Voorstel Gemeentelijke Kunstaankopen 2009 (Art Amsterdam).

2009 (e) Rotterdam, Nederlands Fotomuseum, De Collectie Aarsman #2. Ik zie ik zie.

2010 (g) Amsterdam, Fonds BKVB [Brouwersgracht 276], Hans Aarsman: Het democratische foto-album.

Radio and television programs

1984 (23 april) Kunst- en vliegwerk, met een verslag van Hans Blankensteijn van de tentoonstelling Kerk in verandering (NCRV radio).

1990 De gulden snede, waarin Hans Aarsman vertelt over zijn fotografie van de afgelopen tien jaar (RVU televisie).

1991 (25 augustus) De gulden snede. Hans Aarsman fotograaf (RVU televisie).

1993 Kunstmest, waain een interview met Hans Aarsman naar aanleiding van de verschijning van het boek en de expositie van Pieter Oosterhuis in het Gemeentearchief Amsterdam (VPRO televisie).

1993 Programma over Antwerpen culturele hoofdstad: Antwerpen, een stad gefotografeerd, a city in photographs, specifiek over Hans Aarsmans bijdrage aan dit boek (BRT televisie).

1993 (27 december) I.S.C.H.A. Ischa Meijer interviewt Hans Aarsman n.a.v. de verschijning van Aarsman’s Amsterdam (VPRO televisie).

1994 Zaal over de vloer. Rik Zaal en cameraman Frans Bromet brengen een bezoek aan Hans Aarsman in zijn huis in Amsterdam (AT5).

1995 (februari) Schuim en as, met een portret van fotograaf/schrijver Hans Aarsman (NCRV radio).

1995 (26 februari) De Plantage, Hanneke Groenteman ontvangt diverse gasten onder wie Hans Aarsman die zijn camera aan de wilgen heeft gehangen en zijn eerste roman Twee hoofden, een kussen heeft gepubliceerd (VPRO televisie).

1995 (2 maart) Teun, vuur, Gijs, waarin een gesprek met Hans Aarsman over zijn debuutroman Twee hoofden, één kussen (VPRO radio).

1995 (30 mei) Passages [De liefde en de lusten]. Een literair discussieprogramma over het thema: de liefde en de lusten, m.m.v. de auteurs Kees van Beijnum en Hans Aarsman (NPS televisie).

1997 (26 maart) Een stuk papier dat de verbeelding op gang houdt. Documentaire over fotografie als kunst waarin interviews met Hans Aarsman, Craigie Horsfield, Wolfgang Tillmans en Johan van der Keuken (VPRO televisie).

1999 (15 december) De Avonden, waarin een gesprek met Hans Aarsman over Jacob Olie (VPRO radio).

1999 (16 december) De Avonden, met Hans Aarsman die de kwaliteit van de fotografie in de stad analyseert (VPRO radio).

2002 (18 mei) De Avonden, met o.a. aandacht voor de werkplek van fotograaf en schrijver Hans Aarsman (VPRO radio).

2004 (7 maart) Ram, met o.a. Hans Aarsman over Onzichtbaar Gent (VPRO televisie).

2005 (10 april) Opium, waarin Hans Aarsman de expositie Breitners Amsterdam in het Amsterdams Historisch Museum bespreekt (AVRO radio).

2005 (26 april) De Avonden, met teksten van Hans Aarsman (VPRO radio).

2005 (8 oktober) Opium, waarin een gesprek met Hans Aarsman (AVRO radio)

2005 (14 oktober) De Avonden, waarin een gesprek met Hans Aarsman (VPRO radio).

2005 (25 oktober) De Avonden, waarin een optreden van Hans Aarsman (VPRO radio)

2006 (15 april) Museumgasten. Actrice Monique van de Ven en fotograaf Hans Aarsman bezoeken het Rembrandthuis n.a.v. de tentoonstelling Zoektocht van een genie (AVRO televisie).

2006 (21 mei) NPS Arena, met o.a. Hans Aarsman (NPS televisie).

2006 (13 september) Desmet Live, waarin Hans Aarsman en Erik Kessels hun ontwerp komen toelichten van een huis voor de nieuwbouwwijk Leidsche Rijn in (Radio 5).

2006 (9 oktober) De Avonden, met Hans Aarsman over het vrijgeven van copyrights op al zijn foto’s (Concertzender).

2008 (22 juli) Mosselman/Balian/Aarsman, met o.a. Hans Aarsman over zijn expositie Photography against consumerism (VPRO radio).

2008 (3 september) Opium, met ex-fotograaf Hans Aarsman over de expositie die hij samenstelde voor het Vlaams Cultuurhuis De Brakke Grond (AVRO radio).

2009 (4 maart) Opium, waarin een gesprek met Hans Aarsman n.a.v. het verschijnen van het boek Ik zie ik zie (AVRO televisie).

2009 (7 maart) De Avonden. Wim Brands praat met fotojournalist Hans Aarsman n.a.v. het verschijnen van het boek Ik zie ik zie (VPRO radio).

2009 (11 maart) Kunststof. Jelle Brouwer praat met Hans Aarsman n.a.v. het verschijnen van het boek Ik zie ik zie (NPS televisie).

2009 (14 mei) De Avonden. Floortje Smit praat met Hans Aarsman, gastcurator van Off the record (Art Amsterdam) (VPRO radio).

2010 (27 februari) Opium, met o.a. een bespreking van Hans Aarsman van de nieuwste tentoonstellingen- en boeken over fotografie.

Theater programs

2001 Ruis, monoloog over Garry Winogrand door Josse De Pauw.

2007 Niemand kan het, monoloog over fotografie vertolkt door Carly Wijs.

Sources

Amsterdam, Hans Aarsman.

Den Haag, RKD (Persdocumentatie).

Leiden, Prentenkabinet Universiteitsbibliotheek Leiden, bibliotheek en documentatiebestand.

Leusden, Jan Wingender (collectie nederlands fotoboek).

Collections

Amsterdam, Randstad Collectie.

Amsterdam, Rijksmuseum.

Amsterdam, Stadsarchief.

Amsterdam, Stedelijk Museum.

Den Haag, Collectie Koninklijke KPN.

Leiden, Prentenkabinet Universiteitsbibliotheek Leiden.

Rotterdam, Nederlands Fotomuseum.